Skip to main content

Full text of "50th anniversary of the Peristyle: the Philadelphia Orchestra, May 3, 1983"

See other formats

* gofa Anniversary of c Jhe (Peridfyie 


The. Philiaddphia Orchestra 
May 3, 1983 


y ^$ '" 

TabCe of Contents 

WeCcome to the PeristyCe 4 

The ToCedo Museum of Art Trustees and the 

PeristyCe 50th Anniversary' Committees 6 

The 1982-1983 PeristyCe Concert Series 

50th Anniversary Season 7 

Our Thanks 7 

Riecnrao Muti, a biography 8 

Program for the 50th Anniversary Concert 9 

Program Notes 10 

The Philadelphia Orchestra 12 

Greetings from the Artists 15 

Patrons 42 

The PeristyCe— 50 lears in Rexiew 44 

RecoCCections of PeristyCe Managers 46 

Artists in the PeristyCe 1933-1983 52 

WeCcome to the Peristyle 

I extend both a cordial welcome to all attending our Peristyle 50th Anniversary 
Concert and the Museum's grateful appreciation for your financial support of this 
special occasion. 

The Peristyle holds a particularly warm place in the hearts of Toledo area 
residents and the many fine performers who have appeared here. It is indeed fitting 
that we should include in our 50th Anniversary celebration a renewed commit- 
ment to preserve the excellence of this outstanding concert hall. 

We hope this evening will be a most pleasurable and memorable one for 
each of you. 

Robert G. Wingerter, President 
The Toledo Museum of Art 

So far as I know, there is no other American art museum so deeply committed 
to music as The Toledo Museum of Art. It is the Peristyle, whose 50th Anniversary 
we celebrate, which has made possible the international reputation of our com- 
munity's museum as a true cultural center for both art and music. No other 
museum devotes to music so much space (the Peristyle occupies approximately 
one-third of the total museum building) or such a large proportion of its 
operating budget. 

During my very happy and rewarding years at The Toledo Museum (1946-1976) 
there were seven supervisors of the Peristyle and of the music programs. It is 
significant that all were primarily educators who also shouldered the responsibilities 
of operating the Peristyle, planning its programs, cooperating with the Toledo 
Orchestra in its important use of the Peristyle, as well as negotiating many other 
uses of this fine concert hall. 

Being Supervisor in charge of the Peristyle was never an easy or placid posi- 
tion. The Peristyle has had its economic fluctuations. It lost money for years until 
an enthusiastic group of volunteers turned the corner through increased subscrip- 
tions. It has had dramatic crises. Remember when Myra Hess walked off the stage 
because the piano keys had not been properly dusted? There have been alterations 
in the Peristyle's acoustics as tastes changed. The shell for the stage was con- 
structed and altered on several occasions. The Peristyle has sustained severe criticism 
at times as well as joyous praise. There have been changing accommodations for 
the comfort and pleasure of the Peristyle's audience, such as the intermissions in 
the Classic Court with wine and soft drinks. There is adequate parking at last. 
A new Grove Place entrance has made available easy, pleasant access to the 

What a concert hall, what memories! Thousands of Toledoans have their 
own special memories, their own anecdotes. Here we are at 50 years, the Peristyle 
sold out for the season, adequate convenient parking, a handsome and welcoming 
home for Toledo's own splendid Symphony, and a hall which gracefully justifies 
its use of one-third of the Museum's space. It is a magnificent gift to the community 
from Florence Scott Libbey who gave the money to build the Peristyle in the depths 
of the Depression and who endowed it so generously that even today we who 
enjoy good music can attend concerts at a fee far below their true cost. 

There is a real magic about Toledo's Museum: it serves more people in its 
community in more varied ways than any other in America. And the greatest and 
most extraordinary jewel in this crown of cultural benefits available to all who 
want to participate is the Peristyle. 

Otto Wittmann, Director Emeritus 
The Toledo Museum of Art 


The celebration of the fiftieth anniversary of the Peristyle with a performance 
by the Philadelphia Orchestra is a fitting tribute to this aesthetically beautiful and 
acoustically excellent concert hall. Most of the renowned artists of the twentieth 
century have graced its stage sharing memorable performances with the Toledo 

As chairman of the anniversary committee, I hope that this celebration rein- 
forces the knowledge that our Peristyle is an internationally renowned treasure 
and that we can begin the technical renovations needed to guarantee, for the 
future, the high guality performances we have grown to expect. 

Marvin S. Kobacker, Chairman 
Peristyle 50th Anniversary Committee 

Besides the excitement of attending a concert in the Peristyle, perhaps one of 
the greatest pleasures I have at the Museum is showing the Peristyle to first time 
visitors. Seeing their delight in this wonderful architecture helps reinforce my 
dedication to preserve and improve this remarkable landmark. The fiftieth anni- 
versary of the Peristyle is an added pleasure for me, because it enables me to share 
with many the superb experiences they have had as performers or audience in this 
great hall. Here music and art have been merged in one memorable aesthetic 
occasion — one can almost feel the presence of the great performers who have 
performed in the Peristyle. 

The glorious history of this facility is but a prelude to its future. Each great 
performance, each sold out concert enhances the community's love of the arts. 
Seeing young children's little legs bouncing in time to music from the chairs at the 
Toledo Symphony Family Concert assures me that the tradition of this hall will 
live on. 

Committed as I am to the expanded use of the Peristyle to additional musical, 
dance and theatrical events, I am optimistic that the necessary renovations can be 
funded and be underway as soon as possible. These repairs are vital to the safety 
and smooth operation of the hall, and to the comfort of its performers and 
audiences. While our intention is to see that the Peristyle is modernized, this up- 
dating is only in mechanical and electrical eguipment. The decorative style of the 
Peristyle will be maintained exactly as it is, reconfirming the Museum's responsibility 
to preserve the best of the visual arts for the inspiration and pleasure of future 

Roger Mandle, Director 
The Toledo Museum of Art 

The Ibfedo Museum of Art 

John D. Anderson 
Lawrence G. Bell 
William W. Boeschenstein 
Samuel G. Carson 
Chester Devenow 
Edwin D. Dodd 
Mrs. Thomas J. Fairhurst 
Virgil A. Gladieux 

Mrs. Joseph A. Gosman 
Elmer A. Graham 
George W. Haigh 
Severen Joyce 
Marvin S. Kobacker 
Stanley K. Levison 
Roger Mandle 
George P. MacNichol, Jr. 

Don T. McKone 
Gerald B. Mitchell 
David Morgan 
Richard K. Ransom 
Duane Stranahan, Jr. 
Robert G. Wingerter 
Otto Wittmann 
Frederic D. Wolfe 

Honorary Trustees 

Edward H. Alexander 
Richard W. Bayer 
Mrs. Harold Boeschenstein 
James C. Donnell, II 
John Donnell 
Glen R. Driscoll 
Robert A. Foster 
George M. Jones, Jr. 

Jerome F. Kapp 
Edward F. Knight 
Dominick Labino 
Charles L. McKelvy, Jr. 
Mrs. Peter R. Orser 
Abe Plough 
William H. Price, II 
Roy Rike 

David R. Rittenhouse 
Mrs. Lyman Spitzer, Jr. 
Robert A. Stranahan, Jr. 
John H. Thomas 
John P. Williamson 
Willard I. Webb, III 
Ford R. Weber 

Peristyle 50th Anniversary Steering Committee 

Mr. Marvin S. Kobacker 

Mr. Lawrence G. Bell 

Mrs. Bernard R. Baker 
Mr. Richard H. Benson 
Mr. Thurman Bretz 
Mrs. W. Robert Brewer 
Mrs. Ashel G. Bryan 
Mrs. Richard H. Doerfler 

Mrs. Gregor K. Emmert 
Mrs. Fred J. Harrington 
Mrs. Robert L. Hauman 
Mrs. Richard L. Kaplin 
Mr. Carl F. LaRue 
Mrs. Charles L. McKelvy, Jr. 
Mrs. Richard W. Muzzy 
Dr. Boris E. Nelson 
Mrs. Peter R. Orser 
Mrs. John B. Rank 

Mrs. Lawrence B. Raskin 
Mrs. Carl E. Zerner 
Mr. Roger Mandle 

Mrs. Benedict J. Smar 

Supervisor of Music 
Mr. Robert G. Wingerter 


Peristyle 50th Anniversary Ticket Committee 

Mrs. Bernard R. Baker 

Mrs. Andrew S. Merrels 

Mrs. George C. Urschel, Jr. 

Mrs. Lawrence G. Bell 
Mrs. Ruel Brown, Jr. 
Mrs. Thomas J. Fairhurst 

Mrs. Elmer A. Graham 
Mrs. William J. Graham 
Mrs. Joseph S. Heyman 
Mrs. Paul F. Heymann 
Mrs. Caroline Briggs Jobst 
Mrs. A. Stephen Martindale 
Mrs. Wallace A. McAlpine 
Mrs. Patrick J. Mulrow 
Mrs. Don C. Nouse 

Mrs. William H. Price, II 
Mrs. Frederick Kiel, Jr. 
Mrs. Robert C. Savage 
Mrs. Charles L. Smith 
Mrs. Norman R. Thai, Jr. 
Mrs. Stanford E. Thai 
Mrs. Frederick D. Wolfe 


Peristyfe Concert Series 

50th Anniversary Season 

The ConcertgeBouw Orchestra The Guarneri String Quartet 
of Amsterdam October 26, 1982 

September 30, 1982 * 

Isaac Stern, \Hotin 

January 7, 1983 

The Prague Chamber Orchestra 

February 26, 1983 

Los Angeles Ballet 

April 16, 1983 

Our Thanks 

To subscribers of 50 years to the Peristyle Concert Series. Their loyal and dedicated 
support is greatly appreciated. 

To Peristyle ushers who have faithfully and courteously served our Patrons. 

To the many volunteers who have made the anniversary celebration become a 
successful project. 

To Owens-Corning Fiberglas for their acoustical analysis and photographic 

To Libbey-Owens-Ford Co. for the use of their facilities for a ticket telethon. 

To Virginia Clarke Design for the design of the Anniversary Program book. 

To the Toledo Stage Employees Union, Local No. 24 of the AFL-CIO. 

To the International Brotherhood of Teamsters, Chauffeurs, Warehousemen and 
Helpers of America, Local No. 20. 

To the Toledo Federation of Musicians, Local 15-286 of the AFL-CIO. 

To the community performing artists whose performances are a complement to 
the Peristyle's international performers. 

Riccardo Muti 

Music Director of 

The Philadelphia Orchestra 

Riccardo Muti is in his third season as Music Director of The Philadelphia 
Orchestra. He succeeded Eugene Ormandy when he retired as Music Director in 

Mr. Muti also serves as Conductor Laureate of the London Philharmonia, 
having recently relinguished his position as Music Director. The London position 
was especially created for him by the players of the Philharmonia in recognition 
of his ten-year association with that orchestra. 

In 1982, Mr. Muti and The Phildelphia Orchestra appeared together for the 
first time in Europe to critical and popular acclaim. Appearances included the 
Lucerne and Edinburgh Festivals, the Flanders Festival in Brussels, the Mahler 
Festival in Berlin, the Proms in London and concerts in Vienna, Frankfurt and 
Paris. In the spring of 1983, Mr. Muti and The Philadelphia Orchestra will be on 
an extended domestic tour of midwest cities. 

In addition to his Music Directorship of The Philadelphia Orchestra and his 
continuing association with the London Philharmonia, Mr. Muti has an enormously 
productive schedule in European opera houses and concert halls. 

His direction of a new production of Mozart's Cosi fan tune at the Salzburg 
Festival in the summer of 1982 prompted a London critic to exclaim: "Muti surges 
exuberantly on where Boehm left off!' A leading Austrian critic called Muti "the 
arbiter of Mozart" and the German critics were unanimous in their praise of the 
new production. It was the acknowledged hit of the Festival and will be repeated 
during the 1983 Festival season. Muti also will direct a Cosi production at La Scala 
in Milan in May 1983. 

Other opera activities in the 1982-83 season include opening the La Scala 
season with a new production of Verdi's Ernani, a new production of Verdi's 
Rigoletto with the Vienna State Opera in March and June 1983 and the direction 
of numerous productions at the Teatro Comunale and Maggio Musicale in 
Florence where Muti served as Music Director for many years. 

Mr. Muti is a freguent guest conductor of the Berlin Philharmonic Orchestra, 
the Concertgebouw of Amsterdam and the Vienna Philharmonic Orchestra, 
which he most recently conducted at the Salzburg Festival in August 1982. He 
also has appeared in Europe with the Orchestre National de France and the 
London Philharmonia, and in the United States with the Boston and Chicago 
Symphony Orchestras. 

Mr. Muti's association with The Philadelphia Orchestra began in 1972 when 
he was invited by Mr. Ormandy to Philadelphia as a guest conductor. After five 
annual appearances, Mr. Muti became Principal Guest Conductor in Philadelphia 
in 1977 and Music Director three years later. 

He records exclusively for EMI (Angel) with both The Philadelphia Orchestra 
and the London Philharmonia. Recent releases include both opera and orchestral 
repertory and many of his recordings have received international awards for 

The Toledo Museum of Art 
Peristyle 50th Anniversary Concert 

Tuesday, May 3, 1983 
8:30 p.m. 

The Philadelphia Orchestra 
Riccardo Mud, conductinq 

Riccardo Muti, Music Director 

Eugene Ormandy, Conductor Laureate 

William Smith, Associate Conductor 

Overture to ' 1 vespri siciCiani ' ' Verdi 

Suite from ' 'The Firebird' ' (1319 \ 'ersion) Stravinsky * 

I Introduction; the Firebird and her Dance 

II Dance of the Princesses 

III Infernal Dance of Kastchei 

IV Berceuse 

V Finale 


Champagne is being served in the Classic Court and Peristyle Lobby. 

Symphony No. 1 in D Major Mahler* 

I Langsam; gemachlich 

II Kraftig bewegt 

III Feierlich und gemessen 
IV Sturmisch bewegt 

This concert is underwritten by Ohio Bell through the Bell System American 
Orchestras on Tour Program. 

Baldwin Piano 

*Angel, *RCA Red Seal, Delos, Telarc and *CBS Masterworks Records 

The CIGNA Philadelphia Orchestra radio broadcasts are syndicated nationally with 

support from the CIGNA Corporation. In Toledo, these concerts are heard on WGTE 

(91.3 FM) on Saturdays at 1 1:30 a.m. 

Program Notes 

Overture to "I vespri sieiiiani n 
Giuseppe Verdi (1813-1901) 

Les Vepres siciliennes (The Sicilian Vespers), commissioned for the Paris 
Exhibition of 1855, was the 19th of Verdi's operas, the first one he wrote to a 
French libretto (by Eugene Scribe and Charles Duveyrier), and his first to have its 
premiere at the Paris Opera (June 13, 1855). The story of a patriotic uprising 
against the French occupation forces in 13th-century Sicily, though it didn't 
disturb the French audiences some five centuries after the event, was not 
approved for presentation in Italy at that time, and Verdi's music, adapted to an 
entirely different libretto by E. Caimi, was presented at La Scala under the title 
Giovanna di Guzman on February 4, 1856. Five years later, with Italian in- 
dependence at last a reality, the original libretto was translated into Italian, and 
since then the opera has been best known in this version, as / vespri Sicilian/. 

The qualifying comment, of course, is that the opera itself is not at all 
well-known. It is generally adjudged one of Verdi's weaker efforts and, with the 
exception of the noble bass aria "O tu, Palermo," it is remembered only for its 
Overture, of which Francis Toye, Verdi's first English biographer, wrote: 
"Undoubtedly the best thing about the opera is the overture, perhaps the most 
successful written by the composer, which is both vigorous and ingenious!' Fiery 
and lyrical themes, all of them typical of Verdi at his most dramatically expressive, 
alternate in such a way as to constitute a most effective little tone poem 
embodying the essence of the drama. 

Richard Freed 

Suite from "The Firebird" 

(1919 version) 

Igor Stravinsky (1882-1971) 

The action of Stravinsky's ballet L'Oiseau de Feu, from which this concert 
suite is extracted, may be outlined as follows: 

Into the domain of the Ogre Kastchei there wandered one night, after a long 
day's hunting, the young Prince Ivan Tsarevitch. In the shadows of an orchard he 
discerned a marvelous golden bird, with plumage that shone through the 
darkness as if its wings had been dipped in flame. The wondrous creature was 
sybaritically engaged in plucking golden apples from a silver tree when Ivan 
gleefully laid hold of her; but, melted by her entreaties, he soon released her, and 
she flew away, leaving with him, in gratitude, one of her shining plumes. 

As the night lifted, Ivan saw that he was in the park of an ancient castle, 
and, as he looked, there issued from it twelve lovely maidens, and then a 
thirteenth, who, despite her sinister number, seemed to Ivan infinitely desirable. 
Hiding himself, he watched the damsels, who he knew at once to be princesses 
because of the easy grace with which, as to the manner born, they played with 
the golden apples and danced among the silver trees. When he could no longer 
restrain himself, he went among them; and then, because he was young and 
comely, they made him a present of some 14-karat fruit, and besought him to 
depart in haste, warning him that he was in the enchanted realm of the maleficent 
Kastchei, whose prisoners they were, and whose playful habit it was to turn to 
stone whatever venturesome travelers he could decoy. But Ivan, with his eyes on 
the beautiful thirteenth princess, was undismayed, and would not go. So they left 

Then the Prince, made bold by love, flung open the gates of the castle, when 
out swarmed a grotesque and motley throng of slaves and buffoons, soldiers and 
freaks, the Kikimoras and the Bolibochki and the two-headed monsters — subjects 
and satellites of the Ogre— and finally the terrible Kastchei himself, who sought 
to work his petrifying spell upon Ivan. But the Fire-Bird's golden feather, which 
Ivan still carried, proved to be a magic talisman, against which the wicked power 
of the Ogre could not prevail. 

And now the Fire-Bird herself appeared. First she caused the Ogre and his 
crew to begin a frenzied dance which grew ever wilder and wilder. When they 
had fallen to the ground exhausted, the Fire-Bird disclosed to Ivan the absurdly 
simple secret of Kastchei's immortality: In a certain casket the Ogre preserved an 


egg. If the egg were broken, Katschei would die. It did not take Ivan long to find 
the egg and dash it to the ground, whereupon Kastchei expired, and the castle 
vanished, and the captive knights who had been turned to stone came to life and 
joined in the general merrymaking, while Ivan and the Tsarevna, the most 
beautiful of the Princesses, gazed expectantly into each other's eyes. 

The movements of the suite performed at this concert are as follows: 

I. Introduction, leading into a section called 

II. The Fire-Bird and Her Dance, which combines some of the music 
accompanying Ivan's pursuit of the miraculous Bird as prelude to the Dance 
itself — music of fantastic and captivating grace. 

III. Dance of the Princesses. This movement, a "Khorovode," or round dance, 
of charming gravity and stateliness, opens with an introductory passage for two 
flutes in imitation over an octave F-sharp sustained by the horns. The melody of 
the dance is first played by the oboe, accompanied by harp chords, and is 
continued by solo 'cello, clarinet and bassoon. A second section of the theme is 
sung by the muted strings. 

IV. Kastchei's Infernal Dance. This section (introduced by a sfff chord of the 
whole orchestra) is called in the ballet, Infernal Dance of All the Subjects of 
Kastchei. The passionate theme in A major for the strings in unison, fff, which 
appears shortly before the end of the movement, is derived from a subject heard 
in the ballet as the Princesses play with the golden apples — where, thinks M. 
Montague-Nathan, it hints at their ultimate liberation through the good graces of 
the Fire-Bird. This movement ends on a crashing chord for all the instruments, 
followed by a sudden guiet of the orchestra and a brief transitional passage 
(Adante, pj for woodwind, horns, piano and harp, then for divided and muted 
'celli and violas. This leads without pause into the 

V. Berceuse. In the ballet, this delightful cradle-song, with its opening bassoon 
solo over an accompaniment of muted strings and harp, follows the Infernal 
Dance, lulling the Tsarevna into a sleep that will protect her from the evil designs 
of Kastchei. 

VI. Finale. This movement, which succeeds the Berceuse without pause, 
follows, in the ballet, the Death of Kastchei, and accompanies the breaking of the 
Sorcerer's spell, the vanishing of his castle, and the revivification of the petrified 
knights. The movement opens with a horn solo (p. dolce, cantabile; Lento 
maestoso), above string tremolos— a melody that at the climax of the Finale is 
sung with thrilling beauty by all the strings in unison against an ascending scale 
in the brass. The work ends with the jubilant music that celebrates the release of 
the Ogre's victims and the happy conclusion of Ivan's adventure. 

Reproduced from the January II, 1933 Program Notes for the second night 
dedication concert of the Peristyle by the Philadelphia Orchestra, Leopold 
Stokowski conducting. Program Notes written by Lawrence Gilman. 

Symphony No. 1 in I) Major 
GustavMafiter (1860-1911) 

Gustav Mahler began composing his First Symphony in 1883, completing it in 
1889. First conceived as a symphonic poem in two parts dealing with both nature 
and human life, the work is consistent with Mahler's philosophy that a symphony 
"must be like the world: it must embrace everything!' One of the more easily ac- 
cessible of Mahler's compositions. Symphony No. 1 exhibits the joy as well as the 
melancholic pessimism of the world felt by the young composer. 

"Slowly, drawn out, like a sound of nature," describes how Mahler wished 
the first movement to be played. A sense of spatiality, of time suspended in 
space, is felt due to the expansiveness of the music. Slowly building the main 
theme from hunting calls (off-stage fanfares) and the sound of the cuckoo, nature 
bound by sleep gradually stirs to life. The interval of a fourth, borrowed from the 
sound of the cuckoo in the first movement, introduces the theme of the second 
movement marked Kraftig bewegt (with vigorous movement). This interval, rising 
instead of falling, creates a clomping, hardshoe country dance contrasted with a 
sentimental waltz in the trio section of this scherzo. The third movement, according 


to Bruno Walter, upset the early reviewers with its "brooding despair, brazen 
derision and shrill laughter!' A bizarre version of "Frere Jacques" played in a 
minor key begins with a muted solo double bass and the oboe, leading to a 
funeral march sounded by the muffled tympani. A band of town musicians 
accompanied by an oom-pah rhythm simulate the "brazen derision and shrill 
laughter!' Sturmisch bewegt (with stormy agitation) titles the finale which begins 
with a lightning flash and thunder crack, described by the composer as a "sudden 
outcry from a deeply wounded heart!' The powerful, majestic first subject contrasts 
dramatically to the tender, lyrical second subject. An affirmative hymn of praise 
concludes the symphony, interspersed with melodic material from the initial 

Amy Dennison 

The Philadelphia Orchestra From its first concert on November 16, 1900, The Philadelphia Orchestra has 

been recognized as one of the world's leading artistic institutions. Harold C. 
Schonberg, chief music critic of The New York Times, has written "... one could 
leave the hall in admiration for the greatest virtuoso orchestra active today, and 
probably the greatest virtuoso orchestra of all time!' Throughout these past eight 
decades, the Orchestra has gathered friends everywhere who share this 
enthusiasm. As one fan wrote after a nationwide telecast, "I can't imagine 
heaven without The Philadelphia Orchestra!' 

The Orchestra was formed in 1900 by a group of music lovers who decided 
that Philadelphia should have its own professional symphony orchestra and asked 
the German musician, Fritz Scheel, to become permanent conductor. Scheel and 
his German successor, Carl Pohlig, laid the foundations for a great orchestra. At 
the beginning of the Orchestra's thirteenth season, a young man who had been 
conductor of the Cincinnati Symphony Orchestra became the third conductor of 
The Philadelphia Orchestra. His name was Leopold Stokowski, and he remained 
in Philadelphia for nearly a guarter of a century, generating an intense brand of 
musical excitement which moved the Orchestra into the national spotlight. 

Eugene Ormandy, the Orchestra's fourth conductor, held the post of Music 
Director for 44 years (1936-80), a record unequaled by any conductor of any major 
orchestra in the world. Ormandy and Stokowski are credited with having built 
The Philadelphia Orchestra into a world-renowned ensemble. Ormandy's record 
tenure at the helm of The Philadelphia Orchestra was marked by his superb 
judgment in maintaining a balanced repertoire and a special gift for selecting 
distinguished personnel to perpetuate the tradition of the ensemble. He continues 
to participate with the title of Conductor Laureate, making his own musical 
contributions and providing an unusual and valuable continuity of leadership. 

Riccardo Muti, Ormandy's hand-picked successor, is the Orchestra's fifth 
Music Director. The groundwork for the logical transition from Ormandy to Muti 
as Music Director at the start of the 1980-81 season was laid in 1977 when Muti 
began his three-year tenure as Principal Guest Conductor. During the 1977-78 
season and the two subsequent seasons, Muti conducted the Orchestra for an 
eight-week period. Muti's strong rapport with both the Orchestra's audiences and 
its musicians insure that his dynamic new force will keep The Philadelphia Orchestra 
at the forefront of the world's musical ensembles. In commenting on the exciting 
new era, Eugene Ormandy stated, "I step aside with the knowledge that the future 
of the great Philadelphia Orchestra is secure in the hands of Riccardo Muti, in my 
estimation one of the greatest conductors on the musical scene today!' Mr. Muti 
conducted ten weeks of the Orchestra's 1980-81 season, fourteen weeks in the 
1981-82 season, and is scheduled to conduct fifteen weeks during the 1982-83 

The Philadelphia Orchestra was one of the first to make recordings under its 
own name with its own conductor (1917); it was the first major orchestra to 
broadcast over a radio network for a commercial sponsor (Philco, 1929); it was 
the first symphonic organization to be televised nationally (CBS-TV, 1948); the first 
to be featured in films (The Big Broadcast of 1937). The Orchestra currently records 
for Angel, RCA Red Seal, Delos, Telarc and CBS Masterworks Records. 




The PhiCadeCphia Orchestra 

1982-1983 Season 


Norman Carol 

William de Pasquale 
Associate Concertmaster 

David Arben 
Associate Concertmaster 

Morris Shulik 
Owen Lusak 
David Grunschlag 
Frank E. Saam 
Barbara Sorlien 
Herbert Light 
Luis Biava 
Larry Grika 
Cathleen Dalschaert 
Herold Klein 
Julia de Pasquale 
Vladimir Shapiro 
Jonathan Beiler 
Arnold Grossi 

Irvin Rosen 
Robert de Pasquale 
Joseph Lanza 
Philip Kates 
Irving Ludwig 
Jerome Wigler 
Virginia Halfmann 
George Dreyfus 
Louis Lanza 
Stephane Dalschaert 
Booker Rowe 
Davyd Booth 
Isadore Schwartz 
Cynthia Williams 
Barbara Govatos 
Hirono Oka 


Joseph de Pasquale 
James Fawcett 
Sidney Curtiss 
Charles Griffin 
Gaetano Molieri 
Irving Segall 
Leonard Bogdanoff 
Albert Filosa 
Wolfgang Granat 
Donald R. Clauser 
Renard Edwards 
Patrick Connolly 


William Stokking 
George Harpham 
Harry Gorodetzer 
Lloyd Smith 
Joseph Druian 
Bert Phillips 
Richard Harlow 
Gloria Johns 
William Saputelli 
Patricia Weimer 
Marcel Farago 
Kathryn Picht 


Roger M. Scott 
Michael Shahan 
Neil Courtney 
Ferdinand Maresh 
Samuel Gorodetzer 
Emilio Gravagno 
Henry G. Scott 
Peter Lloyd 
John Hood 

Some members of the string 
sections voluntarily rotate 
seating on a periodic basis. 


Murray W. Panitz 
David Cramer 
Loren N. Lind 
Kazuo Tokito 



Richard Woodhams 
Stevens Hewitt 
Charles M. Morris 
Louis Rosenblatt 

English Horn 


Anthony M. Gigliotti 
Donald Montanaro 
Raoul Querze 
Ronald Reuben 

Bass Clarinet 


Bernard Garfield 
Mark Gigliotti 
Adelchi Louis Angelucci 
Robert J. Pfeuffer 

Contra Bassoon 


Nolan Miller 
David Wetherill 


Randy Gardner 
Daniel Williams 
Howard Wall 
Martha Glaze 


Frank Kaderabek 
Donald E. McComas 
Seymour Rosenfeld 
Roger Blackburn 


Glenn Dodson 
Tyrone Breuninger 
Joseph Alessi 
Charles Vernon 

Bass Trombone 


Paul Krzywicki 


Gerald Carlyss 
Michael Bookspan 


Michael Bookspan 
Alan Abel 
Anthony Orlando 
William Saputelli 

Celesta, Piano 
ami Organ 

William Smith 
Marcel Farago 
Davyd Booth 


Marilyn Costello 
Margarita Csonka 


Clinton F. Nieweg 
Robert M. Grossman 

Personnel Manager 

Mason Jones 

Stage Personnel 

Edward Barnes, 

Theodore Hauptle 
James Sweeney 

Stephen Sett, Executive Director 
Joseph H. Santatiasci, Manager 
John H. Orr, Assistant Manager 


Greetings from the Artists 


f ? ? l ftp [^ 

detroit symphony 

Gary Bertini, Music Adviser 
September 28, 1982 

Ms. Joyce E. Smar 

Supervisor of Music 

The Toledo Museum of Art 

Box 1013 

Toledo, Ohio 43697 

Congratulations on your fiftieth anniversary as 
you launch your 1982-83 concert season. 

I fondly remember my appearance there with the 
Israel Chamber Orchestra, I believe in 1969, and 
remember the visitation as a very pleasant ex- 
perience . 


On behalf of The Cleveland Orchestra* I am deliqhted to salute The Toledo Museum of 
Art on the occasion of the fiftieth anniversary of the opening of the Peristyle. 

Durinq this half century in which the Museum has presented countless performances of 
high quality for the Benefit of a large and appreciative public, our Orchestra has played 
thirty-five concerts in the Peristyle, including one in the very frst season of the hall's 

The excellent setting and fine acoustics of the Peristyle, toqether with the enthusiastic 
support of its knowledgeable audiences, have prcnided our musicians with consistently 
happy circumstances for music makinq. 

We all send our warmest greetings and good wishes for the next half century, durinq 
which it is hoped that The C(e\>eland Orchestra will continue to play a role in Toledo's 
musical life with concerts in the Peristyle. 

Tours sincerely, 

Kenneth Haas, General Manager 
The Cleveland Orchestra 

Lorin Maazel Music Director 

The Perist)'le is a beautiful hall where the acoustics are as good for musicians as for the 
audience. It was a joy and pleasure to play there. 

John Beroset, Violin 
Cincinnati Symphony Orchestra 

The appearance, atmosphere and acoustics of a hall and the receptivity of the listeners 
are some of the most important factors affecting a musical perfomanee. My recollection 
of the Peristyle and the people who attended is that the Beaux Arts Trio made music in 
elegant, classic surroundings to an appreciative, sensitive audience. 

Isidore Cohen, Beaux Arts Trio 


My earliest memories of the Peristyle off seem to Be dominated By a chiid's feeling of 
awe at what seemed a vast space with mysterious columns and a sky overhead that 
would lighten and darken at someone's command I remember a daytime visit with a 
second grade class which featured the guide's demonstration of the acoustical Beauties of 
the hail which allowed her to stand Behind a pdlar and in nearly a whisper reach her 
spellbound audience listening on the stage. The Sunday afternoon Toledo Orchestra 
Family concerts which Jo Hawthorne led with such devotion were a very important and 
inspiring regular event in our lives. 

But my most vivid Peristyle memory was participating as a 5th grader in a concert 
performance of Carmen. Miss Baether's class at Bewrly School could really sing, at least 
we thought so, and Cecdle Vashaw must have aqreed Because she selected us for the 
children 's chorus. We practiced for weeks, learned our part By heart, and then a great 
reward an evening rehearsal of all things, on die Peristyle stage with the Toledo 
Orchestra all around us, good soloists (Carmen had very Black hair) and a conductor 
(Jo) standing very far from us who let us know we were good and who made me feel 
very tall By greeting me By name upon a chance meeting in the hallway as our class 

The feeling of excitement and exhilaration Borne of the chance to make music with 
others at the rehearsal, and the impression made on me as I heard a "real orchestra" 
play all around me are sensations that have remained vhnd to this day to me. Tears 
later 1 have the great good fortune to Be able to recapture these -feelings each working 
day if I'm rested and prepared; Both my challenge and reward 

Dennis Russell Davies, General Music Director 
WurttemBerg State Opera at Stuttgart 


It is with great pleasure that I retail the many fine e\>enings of my life at Toledo's 
Peristyle Auditorium; 

We often came there during the 50 s with the then Minneapolis Sjmiphony; later I 
remember a conqenial concert at the same place on the first USA tour of the Stockholm 
Philharmonic Orchestra. 

At all these occasions all of us performers enjoyed the atmosphere, the kn>eliness and 
tlie fine acoustics of the starry-domed, fine hall It certainly qave the right inspirational 
background to play music. 

With a full heart I send my congratulations to its anniversary', wishinq that it may 
remain a warm home to music for many decades to come. 

gvJA ;^ouT 

Antal Dorati 


V_ p<ujt 



You certainly can imagine, that— after a time of nearly ten years— I am not very 
familiar any more with the circumstances in Toledo. 

But I still remember very well the special architecture of the concert hail and its 
extraordinary good acoustics. I hope, to sometime get the opportunity to conduct in 
this beautiful concert hall again 1 . 

With best wishes, I am, 

Yours sincerely, 
Leopold Hager 









4 l_ l^C_C_ \JZ-Z' 

2 . 

Ua <l4- 

Jtf 6A~.h.~~ J?+~f~*J-- Zcucr*. -£^£,^1*^/ . 


With great pleasure I uilltry to contribute to the celebration of the Peristyle, in spite 
of the fact that it is with some sadness that the Hague Philharmonic remembers its fast 
concert in it, the 4th of October 1975. It had been a remarkable concert indeed. We 
had the finest expectations to start our fourth tour to the USA in Peristyle, which hail 
is a real music-hall in spite of its unusual form, with Van Otterloo after we played 
there in 1969. We really loved it. 

Two days before the concert, deep in the night, we did arrive at Kennedy Airport in 
New York. We had one day for adjustment and the next morning early we went into 
our buses— direction Toledo. Conductor Jean Martinon intended to start with a rehear- 
sal in Toledo, and well prepared, as usual for such a tour, there would not have been 
any problem. But there was a problem. A big problem!! Very late in the previous day 
we made the disco\>ey, that the truck, which carried our instruments, had been robbed, 
and we missed all our trumpets, all our wood-winds, one cello, and some percussions, 
which never have been found again. The orchestra was deeply depressed. Fortunately we 
could borrow some instruments in New York and with utmost velocity Dutch colleagues, 
knowing exactly which systems we used, succeeded, with help by KLM, in supplying 
other instruments. 

No question about any rehearsal. Eveybody tried to get as much as possible adjusted to 
their borrowed instruments. It was with the wonderful understanding and lielp of your 
audience, that we gave a concert; which we didn 't dare to give, totally disoriented on 
our borrowed instruments as we were. We hope in the future to have the occasion to 
give one of the best concerts of our life-time to thank your audience for this help. 

Yours truly, 

Dr. H.B. van der Meer, Managing Director 
The Hague Orchestra 


Louis Lane 


Ms . Joyce E . Smar 
Supervisor of Music 
The Toledo Museum of Art 
Monroe at Scottwood 
Toledo, Ohio 43697 

Dear Ms . Smar: 

Your letter of July 15th about the fiftieth anniversary of the 
Peristyle reminded me very pleasantly of many happy experiences 
there, both as a listener and as a performer. 

The Peristyle is a fine hall with a unique ambience for the 
listener and an unexpected bonus for the performer: it sounds 
as good on the stage to the performer as it does out in the hall. 
I wish the Toledo Museum of Art many more years of joy in present- 
ing the finest in music in the Peristyle to the public of North- 
western Ohio . 

Very best wishes, 





33 S3 S3 S3 S3 B3 S3 S3 E3 B3 S3 S3 S3 S3 S3 Eg S3 53 £• 


London Philharmonic Orchestra Limited, 53 Welbeck Street, London W1 M 7HE Telephone: 01 -4869771 Telex 8956666 LPORCH Telegrams LONPHIL, London W1 

25th August 1982 

Ms. Joyce E. Smar, 

Supervisor of Music , 

The Toledo Museum of Art, 

Monroe Street at Scottwood Avenue , 

Box 1013, 


Ohio 43697 

Dear Ms. Smar, 

Thank you for your letter of 15th July. As the London Philharmonic Orchestra is 
also celebrating its 50th anniversary during the 1982/3 season, we are particularly 
pleased to be invited to contribute to your Artist Guest Book. 

At the time of the London Philharmonic's 1976 performance in the Peristyle, I was 
a member of the bass section of the Orchestra and I well remember the satisfying 
acoustics of the hall. We gave what was to us - and I hope to your audience - 
a most memorable performance of Beethoven's Eroica symphony. 

We send you our warmest congratulations on your jubilee and hope before long to 
have the pleasure of returning to play in your hall. 

Yours sincerely, 

Managing Director 


Thank you for your tetter of July 15tfi, and may we take this opportunity to congratulate 
The Toledo Museum of Art on its fiftieth anniversary. 

The LSO did indeed appear at your concert hall in 1964 and 1974 and I have talked 
to members of the Orchestra who took part in these performances. They are all agreed 
that performing in the Peristyle was a most enjoyable experience and that the hospitality', 
friendliness and warm reception from the organisers and audience alike was outstanding. 

I am enclosing a recent photoqraph of the LSO performing in our new home at the 
Barbican Centre, which I hope will be of interest. 

With best wishes to you for a successful anniversary year, 

Tours sincerely, 

Libby Rice, 

Publicity and Marketing Manager 

The London Symphony Orchestra 




Chairman of the Board 


Executive Director 

13 October 1982 

Joyce E. Smar 

Supervisor of Music 

The ToTedo Museum of Art 

Monroe Street at Scottwood Avenue 

Toledo, Ohio 43697 

Dear Ms. Smar: 

Congratulations on the Peristyle's fiftieth anniversary. I recall with 
pleasure the Los Angeles Philharmonic's concert in this splendid auditorium 
in 1975. It was an event that was memorable both for the distinctiveness 
of the Peristyle and the warmth of the audience. 

Best wishes for many more anniversaries to come. 


rv 5 ^ 



The Minnesota Orchestral Association 

operating and maintaining the Minnesota Orchestra and Orchestra Hall 

1111 Nicollet Mall 
Minneapolis, MN 55403 
(612) 371-5600 
Telex: 29-0233 

October 6, 1982 

Joyce E. Smar 

Supervisor of Music 

The Toledo Museum of Art 

Monroe Street at Scottwood Avenue 

Box 1013 

Toledo, Ohio 43697 

Dear Ms. Smar: 

As a European musician resident in America my most civilizing 
experience is in making music in the classical confines 
of the Peristyle Concert Hall. 

Yours sincerely,/ 


Neville Marriner 


Neville Marriner, Music Director 

Luella G. Goldberg, Chairman of the Board 

Richard M. Cisek, President 

Robert C. Jones, General Manager 




/ remember with great -pleasure my performance in Toledo. The ambience of the Peristyle 
was beautiful, the audience deiiqhtfully warm and the acoustics excellent. 

I wish you many more happy events in the years to come. 

justu^ HtVUUt 

Erica Morini 


Thanking you for your letter of July 1 5th, I will try to forward you some words about 
your concerthall. (Please correct my English if necessary'.) 

' 'The NDR-Sinfonie Orchester-HamBurg made 3 big concert trips through a wide, free 
country, the United States, after travelling through the whole world Europe, the Soviet 
Union, Lebanon, Hongkong and nearly ail important Music-Festivals. 

In 1963 and 1969, we were under the leadership of well-known conductor Dr. Hans 
Schmidt-Isserstedt, the founder of the orchestra, who died in 1973. In 1979 the 
conductor Zdenek Macal was our artistic leader. We started the trip at New York in 
February with 5 concerts, then Washington, D.C. and travelled each day with rather 
qreat distances through the "unknown America" for Europeans with its wonderful 
landscape and very great and friendly hospitality. 

We reached Toledo on the 3rd of March 1979. We suffered bad wintertime with 

"mountains of snow" everywhere. 

In HarrisBurg: Concert cancelled, traffic dead! 

In Altoona: The trucks with the instruments and dress-suits didn't come over: 

In Erie: Blizzard, darkness the whole morning, the lake rouqh. 

The next days; weather cold, ice on the roads: But sunshine put the country into a 
white, magic world— the woods were glittering in ice . . . 

We hoped, Toledo, (ike its Spanish "ancestor" could Be a little Bit warmer. Indeed, it 
was! The sun was not "on duty" But— when the NDR-Orchestra entered the 
Peristyle— a wonderful Blue sky opened the eyes of 90 musicians, we looked into a vision 
of Greece or Roman architecture with charming marBle columns around the auditoy, 
around an amphitheater . . . was it a dream-' No and yes: It was the reality of Toledo 
in Ohio But it was, during the concert, a real dream of acoustics in the masterworks of 
Richard Strauss, W.A. Mozart and— Johannes Brahms. Greetings from Hamburg! To 
play in such an aesthetic surrounding: A real pleasure for all of us! 

We had an outstanding concert, a memorable performance in a long line of 24 concerts 
in your country during a month and the elder of our friends in the orchestra could give 
Back wih music-making some qratitude for the outstanding help of the U.S.A. for us, 
the Germans, shortly after World-War II. We felt as "ambassadors of music" . . . 

The NDR-Symphony of HamBurg congratulates for the 50th anniversary of your fine 
concerthall! "The old world's youngest major orchestra" wishes a good future and 
many good and important concerts in the magnificent Perist\'k with its intelligent 

Sincerely yours, 

Heinz Hartmann 

(I 'iolaplayer and archivist of the orchestra) 




July 28, 1982 

Ms. Joyce E. Smar 

Supervisor of Music 

The Toledo Museum of Art 

Box 1013 

Toledo, Ohio 43697 

Dear Ms. Smar: 

Congratulations to the Peristyle on it's fiftieth 
anniversary. 1 It has always been one of my favorite 
venues in which to perform. Its unique acoustics and 
ambience have always made me feel that, when performing 
the same music, it is for the first time. I have always 
felt that there is an indescribable intimacy which makes 
the music transcend the stage and the audience appear 
to be part of the performance. 

In the last 10 years I have played at the Masonic and 
while it is a fine auditorium, I still miss the Peristyle. 
It was a pleasant surprise, though, when the auditorium 
was unavailable for rehearsal and we were able to rehearse 
at the Peristyle. Fond memories, indeed I 

Sincerely yours, 

Peter Nero 


There are two tfunqs that stand out in my mind about the Peristyle; one is the striking [y 
beautiful physical appearance of the hail, which prcnnded a perfect setting for our 
dancers, and the second is the quality' of the sound, which was crystal clear from any 
part of the auditorium. Happy anniversary, and our best wishes for another successful 
50 years! 

Maurice Kaplow, Music Director 
Pennsylvania Ballet 

The Peristyle at the Toledo Museum of Art is one of the unique concert hoik of the 
world with its ionic columns sweeping their circular path around a perimeter of seats. 
Unjbrqettable for the Pittsburgh Symphony are the 20 concerts performed within this 
wonderful ambience under the direction of Fritz Reiner, Leonard Bernstein, Paul Paray 
and William Steinberg. 

Congratulations on the 50th anniversary of the opening of this man'elous edifice. 


Marshall W. Turkin, Vice President <$£ Manaqinq Director 

The Pittsburg Symphony 

Andre Prexin, Music Director 


/ have been informed that I hold a special sort of record since I have conducted in the 
Peristyle more frequently than any other conductor. Details of all of my 18 concerts 
may not Be entirety clear, hut I always remember the Peristyle as one of the highlights 
of any tour because of its beauty, excellent acoustics and perhaps aBove ail, the 
wonderfully warm and enthusiastic audiences. 

My introduction to the Peristyle occurred in 1934 with an appearance conducting the 
Minneapolis (now Minnesota) Orchestra. Thus was just one year after the dedicatoy 
concerts of this great concert halt on January 10 and 11, 1933 with Leopold Stokowski 
conducting The Philadelphia Orchestra. When I became Music Director I returned with 
The Philadelphia Orchestra as part of a transcontinental tour in 1937, beginning a 
long and close association with the Peristyle. Over the years I have conducted 15 
seasons of Philadelphia Orchestra concerts in this beautiful auditorium. 

It is very appropriate that the Peristyle wilt celebrate its 50th anniversary with a 
Philadelphia Orchestra concert, and I can only hope that my successor as Music Director, 
Riccardo Muti, will derive as much pleasure from making music in this auditorium as 
I have for these many years. 

Eugene Ormandy, Conductor Laureate 
The Philadelphia Orchestra 




August 30th, 1982 

Ms. Joyce E. Smar 

Supervisor of Music 

The Toledo Museum of Art 

Monroe Street at Acottwood Avenue 

Box 1013 

Toledo, Ohio 43697 


Dear Ms. Smar: 

During our first tour in the USA, I had the 
pleasure of conducting the Spanish Radio Television 
Symphony Orchestra of Madrid at the Peristyle Con- 
cert Hall in Toledo, the 9th of April, 1975. It 
was an unforgettable concert due to many reasons; 
the wonderful audience, the amiability of the comit- 
tee during the nice reception they offered us after 
the performance, the magnificent acoustics, grand- 
iosity of the Hall and the stage, where we were very 
comfortable and with the feeling of being at home. 

We all hope to have the pleasure of perform- 
ing in such a wonderful place again. 


Enrique uarcia Asensio 
Permanent Conductor 
Orquesta Sinf6nica de la Radio Tel< 
visi6n Espafiola 

Radio France 


N° 64 BS/NH 

Paris, le 21 septembre 1982 

Mrs Joyce E. Smar 

Supervisor of Music 

The Toledo Museum of Art 

Monroe street at Scottwood avenue 

Box 1013 

Toledo, Ohio 43497 


Dear Mrs Smar : 

Just a few words in answer to your letter dated July 6 : 

It is with great nostalgia that I remember the exquisite 
elegance and comfort of the Peristyle. 

The musicians of the Orchestre national de France join 
me in wishing the Toledo Museum of Art a Happy 50th 
anniversary for its concert hall. 

It is never too late to thank you Mrs Smar, personnally, 
for your high efficiency and delightful welcome you gave 
us when we were over in Toledo in 1981. 

Wishing you all best success, 

Sincerely yours. 

Alain Moene 
Musical Director 


It is with great pleasure that I recall my solo recitals at the Peristyle of The Toledo 
Museum of Art. 

The strikinq beauty of desiqn is inspiring. My audiences were most enthusiastic, and 
with the lovely ambience and acoustics, the events were memorable. 

It is a pleasure to join in the celebration of the fiftieth anniversary' of the openina of 
the Peristyle. 

Sincerely yours, 

Leonard Rose 


stichting rotterdams philharmonisch orkest 


kruisstraat 2 

3012 CT rotterdam 

telefoon 010-142911 

telegramadres rophil 

telex 24000 cdoel 

postgiro 287600 

bank amro bank nv rotterdam / 42.68.37 320 

bank abn rotterdam / 50 48 36.013 


Ms Joyce E. Smar, 

Supervisor of Music, 

The Toledo Museum of Art, 

Box 1013, 

Toledo, Ohio 43697, U.S.A. 

datum October 5, 1982 

Re; The Peristyle concerthall 



Dear Ms Smar, 

During our tours to the United States the variety 
of the concerthalls was staggering. Freemason 
auditoriums, gymnasiums, conference centers, all 
in a turbulent row, offered facilities to our 

Each time again a performance in The Toledo Museum 
of Art in the magnificent and beautiful Peristyle 
Hall was a breathing-time for our musicians. 

We hope to be able to perform there again in the 
future . 




Sincerely yours, 





>^ < ^ > t 

My warmest congratulations on the openinq of your fiftieth concert season at the 
beautiful Peristyle. The news of this happy' occasion brings back memories of the concerts 
which I conducted there in the nineteen-sixties as music director of the Cincinnati 
Symphony Orchestra. The cultural atmosphere, the noble surroundings, the fine 
acoustics, everything worked toqether to make our visits to The Toledo Museum of Art 
cherished events to which I now look back with the qreatest pleasure. 

It is my wish that the concerts at the Peristyle, by now a firmly established and highly 
important artistic orqanization, will continue to flourish and bring joy to the len'ers of art. 


Max Rudolf 


wHL Hi 'Toledo Syuu^i*u.y >**. \12C 

Hal Mutes phikx. tlttf- provi/a. a y&j -etucnaWe. Mttuu Lt ployu^* 

During my twelve years as a member of The Philadelphia Orchestra and ele\'en years 
as a conductor with The Minnesota Orchestra I have had the opportunity and pleasure 
of performing on a number of occasions in the Peristyle of The Toledo Museum of Art. 

The Peristyle is unquestionably one of the most unique and unusual concert hails in 
America. Acoustically it is first rate and the ambience gives one a very special sense of 
"occasion" e\>ery time the lights qo down and the music begins. 

I am aware that the Philadelphia Orchestra was very much a part of the opening of 
the Peristyle. I personally hope that I will have the opportunity to make music again 
and often in this qreat auditorium. 

With best wishes, I am 

~^Ov-^ CLa^£4 

Henry Charles Smith, Resident Conductor 
The Minnesota Orchestra 



For your 50th anniversary of the concert halt Peristyle in The Toledo Museum of Art 
we transmit in the name of the State Orchestra of Dresden our heartiest congratulations. 

Our orchestra, which is among the most tradition-rich in the world, considers itself very 
fortunate in belonging to those instrumental organizations which for more than five 
decades have guaranteed the high international standards of your presentations. 

The concert in your house on November 10, 1979, in which we interpreted works by 
Mozart and Bruckner, is very much in our memory. When we first stepped into the 
hall, we were surprised and fascinated by the unusual architectural configuration of the 
hall. In the evening's performance, the Peristyle rex'ealed itself indeed as a "Temple of 
the Arts", in which music could unfold itself so beautifully. This impression we found 
not alone in the acoustics of the room, which permitted the full realization of the sound 
of an orchestra, but also in the overall artistic harmony, perceivable from the very first 
downbeat between the musicians and the festive-expectant, knowledgeable and 
appreciative public. 

Moreover we were touched by the very atmosphere of which The Toledo Museum was 
filled. Naturally, because here music and the plastic arts united with one another in 
manifold ways; but also, because this museum is a completely unmistakable place of 
meeting between the human being and the arts and amongst people themselves. 

The State Orchestra of Dresden couples its congratulations with the best wishes for your 
future actinty to the joy and to the well-being of all music lo\'ers in Toledo. 

Herbert Blomstedt, Chief Conductor State Orchestra 
Horst Seeger, General Director State Theater 

The Stockholm Philharmonic Orchestra remembers with great pleasure their successful 
concert in 1968 in your beautiful concert hall and the skilled and enthusiastic audience. 

Warmest congratulations to your 50th anniversary 1 . 

Tours sincerely, 

Bengt Oloj Engstrom, President 
Stockholm Concert Halt Foundation 



The Toledo Museum of Arts 

Monroe Street at Scottwood Ave. 
TOLEDO - Ohio 43697 / USA 

Salzburg, 1982-08-03 

Dear Sirs, 

I remember with great pleasure the day of my perfor- 
mance at the "Peristyle Hall" in the year 1955. 

May I convey my heartiest wishes for the fiftieth an- 
niversary of this beautiful hall . 

Sincerely Yours 




July 23, 1982 

Dear Ms. Smar: 

In answer to your request, I can not tell you 
too much, because it was so long ago that we 
gave concerts, and at that time, we were giving 
perhaps 100 concerts a year. But, I do remember 
the very looks of the Peristyle were really 
breathtaking to us. We felt like we were in 
Greece, which we had never experienced elsewhere 
I am sure the Peristyle is unique among all 
American concert halls, and we wish it the best 
of luck, always. 

Most sincerely, 

/ rememBer as if it were yesterday, the moment I walked into the Peristyle Concert Hall 
to rehearse for my concert there. It had a quiet elegance, an appealing warmth, and a 
' restful atmosphere. When I began singing I marvelled at the feeling of the sound in the 
hall. The acoustics made the task of the singer easy. It was (ike riding on air. I also 
remember the wonderful reception I received from the audience at the concert. Here's 
wishing you fifty more years of sendee to artists and audiences. 


William Warfieid, Professor of Music 
University of Illinois at Urbami-Champaign 


My reco flection of playing at the famous Toledo Peristyle forms one of the most glittering 
and one of the most emotional memories of my rather long fife in public performance. 
And this memory' dates back to March, 1959! 

I had heard of the famous half since my childhood and was well aware of its reputation 
as a feat in architecture, acoustics and ambience. Not one expectancy was disappointed, 
not one dream unfulfilled. I can say no more. 

This particular and profound emotional experience in my life was due to the unique 
circumstances causing my appearance there, which was Being requested at short notice 
to replace the world-renowned Dame Mjra Hess, whom I had long admired, and whose 
art I had long loved. Her own life and career were, alas, all too rapidly shorteninql 

I seem to recall that the 3 major works on my program were the same (or close to) 
those she was to have played. 

Bex'eridge Webster 

Unlike most conductors who \nsit the Peristyle for one concert, I work in it regularly 
for both rehearsals and concerts with The Toledo Symphony. Working here is particularly 
inspiring for me as it is in line nith my philosophy of combining all that is beautiful 
in lift. The knowledge that while making music I am in the heart of a most magnificent 
Museum of Art makes it a thrilling occasion every time. This is of course in addition 
to the impressive ambience of the hall itself a source of pride to us all in this warm 

Yuval Zaliouk, Music Director/Conductor 
The Toledo Symphony 



Mr. & Mrs. Harold M. Alexander 

Mr. & Mrs. Darryl F. Allen 

Mr. & Mrs. John D. Anderson 

Mr. & Mrs. Marquard J. Anderson 

Mr. & Mrs. Fred Attwood 

Mr. & Mrs. Bernard R. Baker II 

Mr. & Mrs. William B. Ball, Jr. 

Mr. & Mrs. George P. Ballas 

Mr. & Mrs. Michael R. Barthold 

Mrs. Cecil H. Barnett 

Dr. & Mrs. George N. Bates 

Mrs. Barbara Baumgartner 

Mr. & Mrs. Richard S. Bearss 

Mr. & Mrs. Lawrence G. Bell, Jr. 

Mr. & Mrs. Wilson L. Benfer 

Mr. & Mrs. Richard H. Benson 

Mrs. A. Lewis Bentley, Sr. 

Mr. & Mrs. A. Lewis Bentley, Jr. 

Mr. Lawrence C. Bentley 

Mr. & Mrs. Thomas N. Bentley 

Dr. & Mrs. Franz J. Berlacher 

Mr. & Mrs. Richard L. Berry 

Mr. & Mrs. Robert A. Billstein 

Carole & Lawrence Birndorf 

Miss Sarah Secor Bissell 

Mr. Arnold S. Blackstone 

Mr. & Mrs. George Blackstone 

Martha J. Blair 

Mr. Scott A. Blair 

Mr. & Mrs. Robert S. Blake 

Allan Block 

Mr. Paul Block, Jr. 

Mr. & Mrs. William Block 

Mr. & Mrs. William Block, Jr. 

Mr. & Mrs. James W. Blumer 

Mrs. Harold Boeschenstein 

Mr. & Mrs. William W. Boeschenstein 

Mrs. John E. Boice 

Mr. Stephen C. Boice 

Miss Shirley A. Bonnoront 

Dr. & Mrs. Marios Boucouras 

Mr. & Mrs. William Bradley, Jr. 

Mr. & Mrs. Thomas W. Bred 

Mr. & Mrs. Thurman Bretz 

Mr. & Mrs. W. Robert Brewer 

Mr. & Mrs. Jack F. Brigham 

Mr. & Mrs. Elgin C. Brooks 

Mr. & Mrs. Charles E. Brown 

Mr. & Mrs. James L. Brown 

Mr. & Mrs. Ruel Brown, Jr. 

Mr. & Mrs. Ashel G. Bryan 

Dr. G. S. Bucholz 

Mr. & Mrs. Bruce Bunte 

Mr. & Mrs. Ross S. Carey 

Mr. & Mrs. Samuel G. Carson 

Mrs. Eugene Cernonok 

Mr. & Mrs. James Chandler 

Mr. & Mrs. Fred C. Christen 

Mr. Fred R. Christen 

Mr. Robert L. Christen 
Dr. & Mrs. Leo J. P. Clark 
Mr. & Mrs. James A. Cobb 
Mr. & Mrs. Edmund Collins 
Dr. & Mrs. Henry D. Cook 
Mr. & Mrs. Howard C. Cook 
Mr. & Mrs. Stanley M. Corl 
Mr. & Mrs. Swift C. Corwin 
Mr. & Mrs. William V. Coulacos 
Mr. & Mrs. Robert A. Cowie 
Mr. & Mrs. Freeman Crampton 
Mr. & Mrs. Richard H. Crook, Jr. 
Mr. & Mrs. Malcolm P. Crowther 
Dr. & Mrs. Victor Cummings 
Mr. & Mrs. Harry A. Davies 
Mr. & Mrs. Robert H. Davies 
Mr. Guy-Michael B. Davis 
Mr. & Mrs. John O. Davis 
Dr. & Mrs. John Terrance Davis 
Mr. & Mrs. Thomas R. Day 
Mr. & Mrs. Chester Devenow 
Mrs. Ingrid C. Diemer 
Mr. & Mrs. James S. Dimling 
Mr. & Mrs. Edwin D. Dodd 
Mr. & Mrs. Henry M. Dodge 
Mr. & Mrs. Richard H. Doerfler 
Mr. & Mrs. John R. Donnell 
Mr. & Mrs. Howard H. Driggs, Jr. 
Mr. & Mrs. Robert J. Dulskis 
Mr. & Mrs. John Duncan, Jr. 
Mr. & Mrs. Fred E. Elder 
Dr. & Mrs. A. Willard Emch 
Dr. & Mrs. Gregor K. Emmert 
William & Charlotte Engelke 
Mr. & Mrs. Richard A. Entenmann 
Dr. & Mrs. Francis W. Epstein 
Mr. & Mrs. Thomas J. Fairhurst 
Mr. & Mrs. John K. Fauver 
Mr. & Mrs. John A. Fedderke 
Mr. & Mrs. Yale M. Feniger 
Dr. & Mrs. Randall Finken 
Dr. & Mrs. Hugh M. Foster, Jr. 
Mr. & Mrs. Oscar R. Foster 
Mr. & Mrs. Robert A. Foster 
Mr. & Mrs. Stephen V. Foster 
Mr. & Mrs. Darrell H. Fox 
Edith Franklin 
Mr. & Mrs. Jack B. Franklin 
Mr. & Mrs. Donald R. Fraser 
Mr. Arthur H. Frederick 
Mr. & Mrs. Murray Friedman 
Mrs. Weston L. Gardner 
Miss Dorothy Geiger 
Mr. Elmer V. Gettys 
Mrs. O. L. Giauque 
Mr. & Mrs. Charles C. Gifford, Jr. 
Mr. & Mrs. Virgil A. Gladieux 
Dr. & Mrs. Thaddeus M. Glen 
Mrs. Herma L. Glosser 
Dr. & Mrs. Theodore W. Gorski 
Dr. & Mrs. Joseph A. Gosman 
Mr. & Mrs. Elmer A. Graham 
Mr. & Mrs. William J. Graham 
Dr. & Mrs. Mervin E. Green 

Mr. & Mrs. Harry Greenfield 
Mrs. George E. Gregory 
Mr. Herbert Greunke 
Mr. & Mrs. John H. Griffin 
Mr. & Mrs. Elmer Haigh, Jr. 
Mr. & Mrs. George W. Haigh 
Mr. & Mrs. Thomas L. Hallenbeck 
Mrs. John O. Halsted 
Mr. & Mrs. Gordon C. Hamilton 
William & Mary Hamilton 
Mr. & Mrs. George K. Hammond 
Mrs. Howard Harpst 
Mr. & Mrs. Walter H. Hart 
Dr. & Mrs. John H. Hasley 
Dr. & Mrs. Robert L. Hauman 
Mr. & Mrs. Frederick I. Hausman 
Dr. & Mrs. Robert L. Hazelrigg 
Mr. & Mrs. William L. Henning, Jr. 
Mr. Edward S. Herzog 
Mr. & Mrs. Joseph S. Heyman 
Mr. & Mrs. Paul F. Heymann 
Mr. & Mrs. William H. Heywood 
Mr. & Mrs. Edward Hiett 
Mrs. James Hodge 
Mr. & Mrs. James F. Holden 
Dr. & Mrs. David E. Hoover 
Bradford L. Huebner 
Mr. & Mrs. Robert L. Huebner 
Mr. & Mrs. Samuel F. Hunter 
Mr. & Mrs. Henry Husted 
Mr. & Mrs. Charles E. Ide, Jr. 
Mr. & Mrs. Maurice N. Isaacson 
Mr. & Mrs. Harold A. James 
Dr. & Mrs. M. Brodie James 
Dr. & Mrs. William F. Jeffries 
Ms. Caroline Briggs Jobst 
Mrs. Henson L. Jones 
Mr. & Mrs. Henson L. Jones, Jr. 
Dr. & Mrs. Robert B. Julius 
Dr. & Mrs. Su-Pa Kang 
Mr. & Mrs. Julian M. Kaplin 
Mr. & Mrs. Maury I. Kaplin 
Mr. & Mrs. Richard Kaplin 
Dennis & Joyce Kapp 
Mr. & Mrs. Jerome F. Kapp 
Miss Sona Kara 
Mr. & Mrs. Richard L. Kasle 
Dr. & Mrs. Isadore H. Kass 
Mr. & Mrs. Haig H. Kazazian 
James M. & Susan M. Keller- 
James A. Keller, Inc. 
Mr. & Mrs. Theodore G. Keller 
Dr. & Mrs. Edward A. Kern 
Mr. & Mrs. Donald J. Keune 
Mr. & Mrs. Hugh A. Kirk 
Mr. John T. Kirkby 
Dr. & Mrs. Charles M. Klein 
Dr. Charles & Dr. Anna May Klippel 
Dr. & Mrs. Frederick N. Klippert 
Mr. & Mrs. Edward F. Knight 
Mr. & Mrs. Milton F. Knight 
Mrs. Jerome Kobacker 
Mr. & Mrs. Marvin S. Kobacker 


Mr. Ernst R. Koppel 

Mr. & Mrs. John J. Kosmider, Jr. 

Miss Albertine Krohn 

Mr. & Mrs. Carl F. LaRue 

Mr. & Mrs. Walter W. Lathrop, Jr. 

Mr. & Mrs. Kenneth J. Lay 

Dr. & Mrs. Dennis P. LeGolvan 

Dr. & Mrs. Richard F. Leighton 

Dr. & Mrs. Francis M. Lenhart 

Mr. & Mrs. Mervin N. Levey 

Mrs. J. Preston Levis 

Mr. & Mrs. Stanley K. Levison 

Mr. & Mrs. Allan J. Libbe 

Mr. Clay Locke 

Mrs. Wayne Loecher 

Mr. & Mrs. Donald J. Loss 

Mr. G. P. MacNichol, Jr. 

Mr. & Mrs. Roland S. MacNichol 

Mrs. C. Reynold Macomber 

Dr. & Mrs. Howard S. Madigan 

Mr. & Mrs. Ben Magdowitz 

Mr. & Mrs. Thomas J. Manahan 

Mrs. Phyllis K. Mandle 

Mr. Mark S. Mandula 

Mr. & Mrs. Clair F. Martig 

Mr. & Mrs. A. Stephen Martindale 

Maumee Valley Country Day School 

Mr. & Mrs. Joseph McCaffery III 

Mrs. Harris Mcintosh 

Mr. & Mrs. Charles S. Mclntyre III 

Mr. & Mrs. Charles L. McKelvy, Jr. 

Mr. & Mrs. John F. McKinney, Jr. 

Mr. & Mrs. John C. McKisson 

Mr. & Mrs. Don T. McKone 

Mr. & Mrs. Harold A. McMaster 

Mrs. Donald F. Melhorn 

Marshall & Melhorn 

Mr. & Mrs. J. Dennis Menton 

Mr. & Mrs. Andrew S. Merrels 

Mr. & Mrs. Herbert R. Metzger 

Mr. & Mrs. L. Theodore Meuche 

Mr. & Mrs. Louis Michael 

Dr. Scott Bolles Miller 

Mrs. William H. Miller 

Mr. & Mrs. Irvin J. Mindel 

Mrs. Seymour Mindel 

Mr. & Mrs. J. Harlan Moan 

Mrs. Hollis A. Moore 

Mr. & Mrs. David S. Morgan 

Mr. & Mrs. Dan E. Morgenroth 

Mr. & Mrs. John A. Morse 

Mr. & Mrs. Richard W. Muzzy 

Dr. & Mrs. John J. Newton 

Mr. & Mrs. William F Niehous 

Mr. & Mrs. Norman C. Nitschke 

Dr. & Mrs. Wayne E. North, Jr. 

Dr. & Mrs. Spencer Northup 

Dr. & Mrs. Don C. Nouse 

Mr. & Mrs. David O'Neill 

Dr. & Mrs. Edward Orecchio 

Mr. & Mrs. Horace G. Orser 

Mr. & Mrs. Peter R. Orser 

Mrs. Harold Ottesen 

Dr. & Mrs. Peter A. Overstreet 

Mrs. Allen Owen 

Mrs. W. Boyd Owen 

Mr. Thomas K. Paine 

Mr. & Mrs. Delos M. Palmer, Jr. 

Mr. & Mrs. Thomas W. Palmer 

Mr. David B. Pankratz 

Mrs. George Pankratz 

Mr. & Mrs. Gene Paul 

Mr. & Mrs. Richard H. Peters 

Ms. Beth A. Pilliod 

Mr. & Mrs. Alonzo H. Poll 

Dr. & Mrs. Pablo A. Pons, M.D. 

Judge & Mrs. John W. Potter 

Mr. & Mrs. William H. Price II 

Mr. & Mrs. John C. Purdue 

Mr. & Mrs. Paul Putman 

Dr. & Mrs. Daniel J. Radecki 

Dr. & Mrs. Suresh Ramnath 

Dr. & Mrs. John B. Rank 

Mr. & Mrs. Richard K. Ransom 

Mr. & Mrs. Lawrence B. Raskin 

Dr. & Mrs. M. Rayport 

Mr. & Mrs. Frazier Reams, Jr. 

Mrs. Louise B. Reichert 

Dr. & Mrs. Shang Y. Rhee 

Mr. Sam L. Rice, Jr. 

Mrs. John N. Richards 

Dr. & Mrs. R. Daniel Rigal 

Mr. & Mrs. Roy Rike 

Mr. & Mrs. David R. Rittenhouse 

Mr. & Mrs. Robert Roberts, Sr. 

Dr. & Mrs. Joseph Roshe 

Jacqueline A. Rousseau 

Mrs. James A. Rudy 

Drs. Richard & Elizabeth Ruppert 

Mr. & Mrs. Robert C. Savage 

Mr. & Mrs. Lewis W. Saxby, Jr. 

Mr. & Mrs. Carl F. Scarbrough 

Dr. & Mrs. Richard L. Schafer 

Edward Schmidt 

Mr. & Mrs. Stanley M. Schultz 

Mr. Frederick W. Schwier 

Mr. & Mrs. Edward J. Searles 

Mr. & Mrs. Valentine Seeger III 

Richard & Beverly Seeman 

Mr. & Mrs. Howard M. Selland 

Dr. & Mrs. L. E. Senn 

Dr. & Mrs. Robert P. Sheon 

Mr. & Mrs. F. Jamile Shibley 

Mr. Thomas McG. Shuster 

Dr. & Mrs. Richard W. Siders 

Dr. & Mrs. Gregor Sido 

Irwin & Inez Silverman 

Judge & Mrs. Donald D. Simmons 

Mr. Carey Simon 

Mr. & Mrs. Ray Simon 

Dr. & Mrs. Ronald W. Skeddle 

Mr. & Mrs. William G. Skutch, Jr. 

Mr. & Mrs. W. L. Slayton, Jr. 

Dr. & Mrs. William R. Sloan 

Mr. & Mrs. Carter Smith 

Dr. & Mrs. Charles L. Smith 

Mr. & Mrs. John J. Smith 

Dr. & Mrs. Merl B. Smith 

Mr. & Mrs. James H. Smythe 

Miss Patricia A. Snyder 

Deirdre & Donald Solomon 

Mr. & Mrs. William G. Souder 

Mr. & Mrs. Donald L. Speck 

Mr. & Mrs. John B. Spitzer 

Mrs. Carl Staelin 

Dr. & Mrs. Raymond Steinberg 

Peter W. Stevens 

Mr. Alvin L. Stoll 

Miss Arlyne N. Stoll 

Mr. & Mrs. Richard H. Stoll 

Mr. & Mrs. Spencer D. Stone 

Seksom Suriyapa 

Jan Waggoner Suter 

Mr. & Mrs. W. G. Sutherland, Jr. 

Mr. & Mrs. Marvin R. Swentkofske 

Mr. & Mrs. Eugene T. Swigart, Jr. 

Teledyne CAE 

Mrs. Norman Thai, Jr. 

Mrs. Stanford E. Thai 

Mrs. Douglas W. Thierwechter 

Mr. & Mrs. Henry L. Thompson, Jr. 

Mr. & Mrs. George M. Todd 

Mr. & Mrs. Jack A. Trumbull 

Mr. & Mrs. George C. Urschel, Jr. 

Mr. & Mrs. Robert F. Veh 

Mr. & Mrs. Theodore R. Vogt 

Mr. & Mrs. R. H. Vroman 

Dr. & Mrs. Ronald R. Wade 

Mr. Richard S. Walinski 

Mrs. Ellen M. Walther 

Dr. & Mrs. Donald L. Warkentin 

Mr. & Mrs. William E. Watson 

Dr. & Mrs. J. Hugh Webb 

Mr. & Mrs. Willard I. Webb III 

Mr. & Mrs. Ford R. Weber 

Mr. & Mrs. Richard F. Weisfelder 

Mr. & Mrs. David K. Welles 

Mr. & Mrs. Ralph B. Wenner 

Mr. & Mrs. Byron L. West 

Mrs. James D. West 

Dr. & Mrs. David P. Wheeler 

Mr. & Mrs. James F. White, Jr. 

Mr. & Mrs. John P. Williamson 

Mr. & Mrs. Peter Williamson 

Dr. Carlisle Wilson 

Mr. & Mrs. Robert G. Wingerter 

Mrs. John W. Winn 

Mr. & Mrs. Robert C. Winzeler, Jr. 

Dr. & Mrs. Richard J. Wiseley 

Mr. & Mrs. John T. Witte 

Mrs. Beatrice Wolf 

Mrs. Stanley Woodward 

Mr. & Mrs. John W. Yager 

Judge & Mrs. Don J. Young 

Dr. & Mrs. Robert E. Youngen 

Dr. & Mrs. A. Zacharias 

Mr. & Mrs. Ernest J. Zammit 

Mr. & Mrs. Michael J. Zapieki 

Erma K. Zerner 


The PeristyCe— 
50 Years in Review 

Joyce E. Smar 

Supervisor of Music 


A glorious time it was when The Toledo Museum of Art opened its new East 
and West wings in 1933. People came from all over the country for the opening, 
marked by two concerts with the Philadelphia Orchestra conducted by Leopold 
Stokowski on January 10 and 1 1 . 

Funded through the bequest of Edward Drummond Libbey and the generosity 
of Florence Scott Libbey, construction of the music wing and the School of Design 
wing had been carried out many years earlier than planned in order to relieve 
local unemployment. Nearly 3,000 men worked on the building during two years 
of construction. Edward B. Green of Buffalo, the architect for the Museum's first 
two parts completed in 1912 and 1926, designed the new expansion, though it 
was Mrs. Libbey's conception that the new music hall be built in classical Greek 
style. The builder was A. Bentley & Sons of Toledo. 

The new music hall was named the Peristyle for its most distinguishing 
architectural feature, the curving row of twenty-eight Ionic columns which 
surround the main seating area. Arranged in tiers reminiscent of the theaters of 
ancient Greece, the specially designed seats were inspired by the graceful Greek 
chair called a klismos. To the left and right of the stage are porticos which screen 
the organ chambers. Atop their pediments, are large palmette ornaments used in 
Greece on the four corners of a roof to cover wooden ridge beams. On the lower 
end of these beams, are the heads of the chimaera, a mythical monster having 
the head of a lion, body of a goat, and tail of a dragon. The five medallions on 
the proscenium arch show Pegasus, the mythological horse with wings; Mercury, 
the messenger god who the Greeks believed invented the lyre, the musical 
instrument of the gods; Apollo, god of music, who is represented by the lyre and 
the swans that sang over the pangs of his birth; Terpsichore, muse of dance; and 
Daedalus, Greek patron of artists and craftsmen. The interior design of the 
Peristyle, with its blue, pink and gold color scheme, was by Joseph Sturdy. 

The Peristyle lobby was inspired by the agora of Assos. In a Greek town, the 
agora was where public and private transactions took place, and, in the Peristyle 
lobby, the upper story is animated by a painted frieze of Greek citizens. 

Acoustical engineer Clifford Swan began work at the same time that the 
engineering of the foundation began. The intention was to create an auditorium 
which would be as nearly perfect as possible for orchestra concerts in the belief 
that if it were ideal in that respect, it would meet the requirements of other music 
ranging from vocal recitals to organ concerts. Foremost among the acoustical 
features is the ceiling made of 2,200 yards of acoustical plaster placed on a 
suspended, metal lath frame, a design which called for a first in American 
construction. The wood and bronze chairs were upholstered with enough 
material to give the same amount of sound absorption whether the seat was 
occupied or not. The recessed panels in the wall behind the colonnade were 
made of hair felt covered with painted canvas in which holes were punched for 
sound absorption. (Leopold Stokowski thought the Peristyle needed a little more 
sound absorption than Mr. Swan, and he himself added more holes before 
opening night.) Other factors which account for the Peristyle's outstanding 
acoustics are the cork flooring, the special plaster walling material simulating 
marble, and the orchestra shell, which has had several revisions over the years 
as listener tastes have changed. 

Before the Peristyle opened, many press articles high-lighted special features 
of the new hall. Said by producer Daniel Frohman to be " . . . the most 
thoroughly equipped theater outside of New York," the equipment included an 
18 foot long light board which controlled footlights which could disappear, stage 
lights which included a newly-developed pink color, and house lights which 
could change from the light of day to the deep blue sky of evening. The Skinner 
pipe organ, given earlier by Alice Libbey Walbridge and Sarah Miller Libbey, 
sisters of the Museum's founder, had been moved from the 1926 Auditorium to 
the more spacious Peristyle. There was a large motion picture screen and 
provisions for talking film amplifiers. A projection booth, extensive dressing rooms 
beneath the stage, an elevator which moves between the loading dock and the 
dressing rooms, removable orchestra pit, and a three room broadcasting studio 
(from which the first concert was broadcast), were all described, as were the 
spacious promenades, lounges and cloak rooms. 

On opening night the Peristyle held a capacity audience of Museum members 
and guests. Following a brief address by Museum Director Blake-More Godwin, 
Leopold Stokowski and the Philadelphia Orchestra performed the Symphony No. 
1 in C minor by Brahms. After intermission, the performance of Wagner's "Tristan 
und Isolde" was broadcast nationally over CBS radio via the satellite station of 
WSPD located at the Museum. The January 1 1 concert, open to the public, 
included the Concerto Grosso in D minor by Vivaldi, the Schubert "Unfinished" 
Symphony in B minor, Bach's Toccata and Fugue in D minor, "La Cathedrale 
Engloutie" by Debussy and the Stravinsky Firebird Suite. 

The two concerts by the Philadelphia Orchestra inaugurated the distinguished 
programming foreseen and endowed by Mrs. Libbey. From the first Peristyle 
Series, which included pianist Ernest Hutcheson; the Detroit Symphony; the 
London String Quartet; and the Cleveland Orchestra; to the Fiftieth Anniversary 
Series, with the Concertgebouw Orchestra of Amsterdam; the Guarneri String 
Quartet; violinist Isaac Stern; the Prague Chamber Orchestra; and the Los Angeles 
Ballet; performances by internationally renowned artists have become a Peristyle 
tradition. Through the years, programming has varied to include jazz, popular and 
dance artists, as well as orchestras, small ensembles and soloists. In addition to 
concerts sponsored by the Museum, the Peristyle has long been the setting for 
concerts by the Toledo Symphony Orchestra, Toledo Opera, American Guild of 
Organists, and Toledo Public Schools, among many other community organizations. 

The Peristyle is a living center where the experience of many art forms is 
shared by audiences drawn from an extensive region. The atmosphere which is 
created each time the lights dim, causes special performances which confirm the 
reasons for the Peristyle's existence. 


Recollections of 
Peristyle Managers 

Mary Van Doren Rebmann 


The autumn morning in 1931 when I first beheld The Toledo Museum of Art 
stands out in vivid memory. I had come from the Juilliard Foundation in New York 
in response to the expressed wish of Mrs. Edward Drummond Libbey for someone 
to create a department of Music for the Museum. 

Florence Scott Libbey had made a most bountiful gift to the entire community— 
the Museum's new music wing, within which was a beautiful concert hall called 
the Peristyle. Construction had gone on during depression years and was nearing 
completion when I arrived. 

The Peristyle would resound with the music of symphony orchestras, chamber 
music, illustrious soloists; but in addition it was hoped the Museum itself would 
become a center for aural, as it already was for visual, enrichment. Many persons 
came to learn about painting, sculpture and glass; .would they not also come to 
learn about, and to experience, music? 

A program to cultivate the art of listening was called for. It was an exciting 
and challenging assignment. 

From the outset, splendid cooperation on the part of Toledo musicians was 
forthcoming. Our objective was to supplement, not duplicate what was already 
in place in the musical community. The Museum administration gave helpful 
counsel and, responding to many requests, I went to schools, clubs and other 
gatherings giving brief musical programs and explaining our aims for the new 

We were fortunate in that the Toledo press gave us excellent publicity, with 
announcements of forthcoming events and lectures and, in time, with perceptive 
reviews of recitals and concerts. 

In the beginning we would "paint with a broad brush!' We planned two 
series of illustrated talks on musical subjects, one for adults on Thursday mornings, 
another for children on Saturday mornings. For illustration the piano would be 
used extensively and occasionally, phonograph recordings. 

For the adults, under the general heading Types of Great Music we listed such 
subjects as Folk Songs and Singers of the Middle Ages; Fathers of Early Church 
Music; Bach and the Well-tempered Clavichord; Hadyn's Use of Theme and Varia- 
tions; An Hour with Mozart; Schumann and the Romantic Movement; The Music 
of Edward MacDowell, to name a few. 

And the children's course included Nature in Music, Dancing Music of Olden 
Days, Animals in Music, Tschaikovsky's Nutcracker Suite, Music of the American 
Indian and much more. 

As attendance increased it became necessary to add evening classes; persons 
employed during the day wished to attend. Titles such as The Magic of Rhythm, 
Chopin's Poetry for the Piano, The Titanic and the Human Brahms, and Debussy 
and French Impressionism brought out evening listeners in numbers that sent us 
from the lecture room to the auditorium. 

For the children, too, we found it imperative to form more groups. The number 
of classes was tripled to accommodate the age span of the youthful listeners. 

Sunday afternoon concerts were presented in the auditorium on a regular 
basis, given mostly by Toledo musicians. Each session also saw concerts planned 
especially for children by the music department, these also enlisting the talents of 
local performers and sometimes of very young ones. 

The Toledo Junior League asked for, and actively promoted, a weekly radio 
program for children. (As yet, in the 1930's, we had no TV.) Thus Music for 
Young Listeners came into being. The response, particularly from schoolrooms over 
a wide area, was most gratifying. Letters and drawings illustrating various musical 
compositions played poured in to Station WSPD and groups of children were 
brought in to watch the program "live" from time to time. NBC took the program 
to air nationally, so the Museum's listening audience was indeed expanding. 


Early in 1933 came the dedication of the Peristyle. Leopold Stokowski brought 
his Philadelphia Orchestra for two memorable concerts. Included on the programs 
were thrilling performances of Brahms, Wagner, Vivaldi, Bach, Schubert, Debussy 
and Stravinsky. And Mr. Stokowski was lavish in his praise of the Peristyle. 

Mrs. Libbey, wintering in California, came home to attend these concerts, 
adding special luster to events so long anticipated and planned for. 

Many distinguished artists were to be heard in the Peristyle: pianists Ernest 
Hutcheson, Myra Hess, Artur Schnabel, the London String Quartet, soprano Kirsten 
Flagstad, and Igor Stravinsky who participated in a concert of his own works. 

Each season would bring symphony concerts; we heard the orchestras of 
Chicago, Cleveland, Detroit, St. Louis, Cincinnati, Minneapolis and the Philadelphians 
under direction of Eugene Ormandy. 

In time Toledo would have its own Symphony Orchestra. And the Peristyle 
would continue to inspire and delight — a living monument to a great lady who 
had both the vision and the generosity to provide for rare cultural enrichment for 
many years to come. 

Emma Endres-Kountz 


Recollections of my brief tenure as Supervisor of Music during Mary Van 
Doren's year's leave of absence bring smiles of joy and satisfaction. Coming directly 
from study in France after five years as a Fellow in the Juilliard Graduate School, 
I gave a piano recital to open the season in early October, 1937. In May, 1938, I 
again played a recital, after which I returned to France on a French Government 
Grant, to continue studies with Robert Casadesus, Nadia Boulanger and Igor 
Stravinsky. I carried with me a George Stevens Fellowship, awarded to me by the 
Museum's Board of Directors, so that I was able to do some research in the inter- 
relationship of Music and Art, furnishing the basis for many lectures in European 
and American Museums. 

During the months at the Museum I gave frequent mini-recitals, and many 
appearances with local chamber music groups. On Tuesday mornings and evenings 
I gave a series of lectures entitled, Comparative Studies in Music History and 
Appreciation, in which musical styles and forms were considered against a back- 
ground of social, economic, political, cultural and philosophical developments. 

Before each orchestral concert in the Peristyle, I gave illustrated lectures 
analyzing the music to be heard; for the Children's orchestra concert I wrote 
Program notes for the youngsters for which the School of Design had a student 
competition for the best cover-design. Recorded performances of all the music 
heard and studied were set apart on the shelves of the Record Listening Room, 
where they were easily accessible to interested students, both adults and children. 

A. BeverCy Borksdoie 


The Peristyle was still fresh and relatively new when we arrived in Toledo in 
August, 1940. It was beautifully maintained. Then, it was not used many times in 
a season. Two canopies were installed each October before the first concert: one 
extending from the front entrance down to the curb of Monroe Street, and a 
smaller one covering the walk at the "carriage entrance" on Lincoln Avenue. 
They continued in use until the one on Monroe was destroyed by a storm; the 
other lasted several years more until it disintegrated. They were not replaced 
because of the great expense involved. 

The seats in the hall were kept covered except for the main concerts. The 
covers were on for children's concerts and those on Sunday afternoons. When 
an orchestra was scheduled to play a children's matinee, it was a scramble to get 
the hall cleaned afterward and the covers removed and stored before the evening 
concert. They went back on the next morning. 

Touring orchestras, which so often have to play in gymnasiums, high school 
auditoriums, and movie houses, always welcomed the relatively spacious and 
comfortable accommodations of the Peristyle. Unloading an orchestra or opera or 


ballet company is not without its problems, since the dressing rooms are 
downstairs underneath the stage. Trunks have to be unloaded at the dock on 
Lincoln Avenue and taken down by elevator a few at a time. 

The dressing room for the conductor or solo artist is under stage left. This 
makes for a fairly long walk to the stair leading to stage right where artists 
customarily make their entrance. Most took this in their stride. However, 
Koussevitzky would use the other stair and enter from stage left to avoid the 
walk. Artur Rubinstein and Guiomar Novaes wanted a dressing room at stage 
level, so one was improvised backstage using screens. The great basso buffo 
Salvatore Baccaloni was a corpulent man; when costumed and padded for a 
scene from "Falstaff;' he must have weighed 300 pounds. He had to be brought 
up to the stage via the baggage elevator. 

For opera or ballet, the shell had to be dismantled section by section and 
stood against the rear wall. The orchestra pit had to be opened by hand and the 
floor sections and supports carted off for storage. Both operations were costly 
and time consuming. I asked two guestions: Why had no fly space been built 
above the stage so that scenery and sections of the shell could be lifted out of the 
way; and why was there no hydraulic lift for the pit? The answers were clear 
and direct: To build a stage house for fly space would have destroyed the 
architectural unity of the whole museum building; a hydraulic lift had been 
planned for the pit, but guicksand had been discovered below. 

When plans were being made for the grand opening and The Philadelphia 
Orchestra had been engaged, Stokowski came to inspect the unfinished Peristyle. 
He advised that an orchestra shell was absolutely necessary for the sound to be 
blended and focused as it was transmitted into the hall. He designed one of 
guarter-inch plywood to hold down on weight, since it would have to be removed 
at times. The thinness made for certain resonance problems and did not reinforce 
higher freguencies enough to partially compensate for their absorption by the 
thick layer of acoustical plaster on the ceiling. This treatment of the ceiling was 
necessary because of its shape; a harder surface would have produced acoustical 

In 1933, when radio was in full flower and many orchestras were on the air 
weekly, the ideal in designing a hall was to achieve clarity, which usually meant 
a degree of dryness and lack of reverberation. The Peristyle has always had a 
clear, honest sound, but persons accustomed to more reverberant halls missed a 
certain warmth and sense of presence. An orchestra sounded distant in the 
Stokowski shell. 

I recommended that a new shell be built which could be dismantled and 
reinstalled more efficiently and, at the same time, give more aid to the sound. This 
finally came to pass in the 1960's. Early on in Cleveland, George Szell introduced 
me to Dr. Robert Shankland, a distinguished physicist at Case Institute and very 
knowledgeable in architectural acoustics. Szell recommended him to the Museum, 
and the new shell was designed and built. It can be handled with minimal effort. 
Anyone remembering the sound of an orchestra in the old shell can attest to the 
substantial improvement. 

Looking back over my years at the Museum (1940-1957), I feel satisfaction 
with what was accomplished and gratitude for the opportunities there. Few 
places in America have had such a record of performances by the great musicians 
of the time. This array is no longer available. There were annual or freguent visits 
of the Boston Symphony with Koussevitzky and Munch; the Philadelphia with 
Ormandy; the Pittsburgh and Chicago with Reiner; the Minneapolis with 
Mitropoulos; and the Cleveland with Rodzinsky, Leinsdorf, and Szell. Others 
made less freguent appearances. A number of European orchestras came: the 
French National with Munch, the Royal Philharmonic with Beecham, the London 
Philharmonic with Karajan, and the Concertgebouw with Van Beinum, to mention 
but four. 

Thank goodness there was still an audience for the solo recital then. Among 
others we had Horowitz, Rubinstein, Schnabel, Serkin, Casadesus, Hess, Novaes, 
Bachauer, Vronsky and Babin, Bartlett and Robertson, Heifetz, Szigeti, Milstein, 


Francescatti, Stern, Piatigorsky, Fournier, and more. Of singers there were Traubel, 
Sayao, Tourel, and Harrell. We had ballet, opera, and some ensembles. We also 
had a highly successful jazz series. In time the Peristyle Series became known in 
New York as "the showcase of the near midwest!' Artists' managers usually 
agreed to lower fees because of this prestige. 

For our first Christmas in Cleveland in 1957, we had open house for the entire 
Cleveland Orchestra and spouses. Laszlo Krausz, a violist and talented artist, 
brought us as his Christmas card a large pastel sketch of the Peristyle as seen 
from backstage, stage left. It was framed and hung in the front hall where it 
remained for our twenty-four years in Cleveland. When anyone asked what it 
was, I took pride in saying: "It is a picture of the old home place in Toledo." 

Wittiam Gravesmitt 


The 1961-1968 seasons were ones of excitement and change. Early in the 
1961-1962 season we decided to try removing the old concert shelf for the sake 
of opera performances. It was a cumbersome beast, but the stage hands became 
rather efficient in taking it down and putting it back up. The fruit of these labors 
was the ability to use lines and lights that had not been seen on that stage for 
many years. The result was the confirmation of the need to rebuild the stage and 
design a shell that was more easily removed and one that would better distribute 
sound from the stage to the hall when in place. 

Oddly enough, the event that helped me win approval for the costly under- 
taking of stage redesign was a concert by the great Canadian soprano, Lois 
Marshall. The season had been sold out on the strength of a planned performance 
by Leontyne Price. But Miss Price was forced to cancel most of her season, leaving 
me with the responsibility of replacing the best known soprano at that point in 
time. Otto Wittmann asked me what I intended to do. I replied, "I have already 
signed a contract with Lois Marshall!' Otto said, "Lois who???" After the concert 
Otto and Miggie could not wait to go back stage to meet this incredible artist. After 
being invited to return to the Peristyle "anytime" Lois Marshall replied, "Dr. 
Wittmann, please ask me to return when you fix your stage!' The next day we 
got down to business. 

The new stage was the result of work by an incredible team. The choice of 
ceiling plastics was left to me. That choice was vindicated when George Szell, 
speaking before the opening concert, thanked the Museum for, "making it possible 
for the Cleveland Orchestra to finally be able to see on your stage!' The 30th 
anniversary of the Peristyle enjoyed the new stage. 

The introduction of Pops in the Peristyle was a feather in our cap that was 
pure fun. The seasons were a tremendous hit and there was certainly no problem 
in selling tickets. Again, a single concert has got to go down in museum history, 
that of Pearl Bailey. She was contracted to do a twenty minute first and twenty 
minute second half with a group of "warm up" singers and dancers to begin each 
half. But being in a museum setting gave Pearl Bailey an entree she could not resist. 
As I remember, she finally left the stage a little after midnight. The overtime costs 
for stage hands was well worth the evening. 

American Ballet Theater and the New York City Opera were other introductions 
the new stage made possible. For instance, what an evening it was to have on 
stage the majority of the cast for whom Menotti had written "The Consul!' How 
gratifying it was for that cast to thank us, ". . . for allowing us to perform in 
your hall!' 

But I have to admit above all of this, the star I find in my own personal Toledo 
crown was the purchase of the Strumphler bureau organ. Otto Wittmann told 
me that he was going to be in the Netherlands for a few days and I asked him to 
visit the little town of Zaandam to meet with Dirk Flentrop, the one man then 
respected as being the greatest organ builder in the world. Mr. Flentrop showed 
Otto the little jewel we ultimately purchased. If the "talking box" is still located 
near the organ and one were to remove the postal card we used to give an 
example of organ case design of the period of Strumphler, the reverse side of that 
card will give the manner in which I was told that the organ was ours. 


Don Bamette The great post-war van Gogh exposition was responsible for my first visit to 

7 qf.y.iqyi The Toledo Museum of Art; later, after Paul Paray had re-established the Detroit 

Symphony Orchestra, its manager, Howard Harrington, asked me to drive down 
with him for a concert they were to perform in the Peristyle. He said that I should 
see the most beautiful concert hall in America. And, indeed, it is. 

But its physical beauty has never been the reason for its existence, nor for 
the very special place it occupies within the American concert scene. Its true 
importance both for the community of Toledo and the larger music world has 
always been found in the integrity of its presentations. In few settings have so 
many great musical artists been able to offer the gems of their repertoire to audi- 
ences so appreciative. While I was still at the Ford Auditorium in Detroit, Mr. 
Harrington and I would come to the Peristyle to hear such great musicians as 
Irmgard Seefried, Jennie Tourel or Rudolf Serkin — artists whose appearances were 
rare by any standards. 

Shortly before moving to Toledo as manager of the symphony orchestra, I 
reversed roles with Mr. Harrington and brought him to the Peristyle for a pianist 
I had first heard while in the army. Gina Bachauer often performed for the Allied 
troops in Cairo and Alexandria during the Second World War. Her Peristyle debut 
recital was a sensation, and resulted in her debut with both the Detroit Symphony 
and the Toledo Orchestra. Madame Bachauer returned to perform in Toledo more 
than any other international pianist of her generation; she was sincerely mourned 
here upon her untimely death. 

Great artists and great performances fondly remembered from the Peristyle 
would certainly include the Fritz Reiner-Chicago Symphony performing the Prokofiev 
Fifth Symphony — an unforgettable evening. Later, that same orchestra would return 
under its successor music directors, Jean Martinon and Sir Georg Solti, whose 
realization of the Mahler Fifth Symphony brought a cheering Peristyle audience 
to its feet. 

It was my privilege to be in the concert manager's seat for the Peristyle's 
outstanding thirty-fifth anniversary season. The guest attractions for that occasion 
formed an honor roll of the music world: Artur Rubinstein, Nathan Milstein, Lois 
Marshall, the Vienna Symphony Orchestra, the Chicago Symphony Orchestra, the 
Stockholm Philharmonic all appeared that season. The Cleveland Orchestra was 
scheduled to end that brilliant celebration, but the assassination of the Reverend 
Martin Luther King forced the cancellation of that performance. Max Rudolf 
graciously brought the Cincinnati Symphony Orchestra here to complete the season. 

That anniversary year also brought Montovani, Benny Goodman, Ferrante 
and Teicher, and the Norman Luboff Chorale to the Pops in the Peristyle Series. 
Not a bad array of talent. Other seasons of Pops brought such important organi- 
zations as the Osipov Balalaika Orchestra, the Preservation Hall Jazz Band with 
DeDe and Billie Pierce, Fred Waring and the Pennsylvanians, and John Gary. 

The Peristyle has not neglected local musical organizations; the Toledo Choral 
Society has offered its programs on its stage for many years. The Toledo Symphony 
Orchestra with whom I enjoyed a nine-year relationship can be proud of both its 
programs and its soloists; Glenn Gould, Regine Crespin, Elisabeth Schwartzkopf, 
Dennis Russell Davies, Vladimir Ashkenazy and many other important musicians 
made their first Toledo appearance in the Peristyle with the Toledo Orchestra. The 
Toledo Opera, too, was a lively attraction at the Peristyle for many seasons. Who 
can forget their fabulous performance of Turandot, or the funniest performance 
ever seen anywhere of The Barber of Seville. Fortunate, too, were members of 
their audience the night that a young Spanish tenor made his pre-New York debut— 
Placido Domingo became a hero here first. 

Many other groups brought great musicians to the Peristyle, sometimes for 
benefit concerts. Peter Nero, Anna Moffo, Erroll Garner and Gordon MacRae 
were all heard here through the efforts of various community groups. 

In coming to Toledo as a concerts manager, I had two primary goals: I wanted 
to bring the best available musical talent to the community and I sought to intro- 
duce new musical talent to the area, musicians I felt would have a long, profes- 
sional career and who would return again and again to the city. In working toward 
these goals, I was always grateful for the strong support I received from the 


Museum Director, Mr. Otto Wittmann, from the Toledo Orchestra's Music Directors, 
Mr. Joseph Hawthorne and Mr. Serge Fournier, and from the Orchestra's Trustees. 
If I made any contribution to Toledo's musical life, it was in the realization of these 
goals. Toledo is not one of the large metropolitan centers where great musicians 
and performers are routinely found. But when you read the roster of pianists, 
violinists, singers, symphony orchestras, instrumentalists, dancers and other musical 
organizations who have appeared in the Peristyle during the past fifty years, you 
become aware of how high the city stands in its appreciation of great talent. The 
existence of the Peristyle itself has been the primary factor for this incredible record. 
In Der Rosenkavalier, the Marschallin sings "Jedes Ding hat seine Seit!' Each thing 
has its time. It is an appropriate sentiment. 

My career in music management was a very rewarding one, both in Detroit 
and in Toledo, and the Peristyle has played a major role in my life. To me, it seemed 
most appropriate that when I left that profession, my successor at the Peristyle 
was the wonderful, experienced and talented Joyce Young. Years before, when I 
arrived in this city, Mrs. Young was the Music Supervisor at the Museum. Bookends 
frame that strange concept, time. 

Joyce R. Young 

1955-1958, 1968-1976 

I joined the staff of The Toledo Museum of Art as Instructor of Music Education 
upon receiving my degree from the University of Michigan Graduate School of 
Music in 1955. My work during the first two or three years consisted chiefly of 
teaching music to fourth, fifth and sixth grade students within the Greater Toledo 
public school system along with writing a teacher's manual for classroom work 
within each school. On behalf of The Toledo Museum of Art I also initiated, wrote 
and broadcast a weekly radio program of music appreciation on WTDS-FM and 
WSPD-AM/FM, along with handling the usual office administration and clerical 
work under the supervision of Mr. Barksdale. We also became involved in a variety 
of publicity work connected with the Peristyle. At that time, 1956, I also taught a 
weekly evening adult course in jazz and classical music appreciation called The 
Listening Workshop and introduced a series of jazz music concerts to Peristyle 
audiences called, of course. Jazz at the Peristyle. 

Following my marriage in mid-1957 and motherhood late the following year, 
I left the Museum to devote full-time to rearing our three daughters. I returned to 
the music department in 1968 at the request of Mr. Wittmann, who in the mean- 
time had become the third director of The Toledo Museum of Art, succeeding 
Mr. Godwin. I gradually undertook additional responsibilities at this time as the 
Peristyle continued to expand in both its education and concert operations. We 
also began the Music Docent program about this time, which I am delighted to 
see continues so effectively. 

My years at the Peristyle were filled with stimulating challenges and growing 
experiences . . . now fond memories of beautiful music, audiences and a vivid 
spectrum of colorful artists who performed at the Peristyle . . . conductors from 
Szell to Boulez; ballet from The Royal Winnipeg to The Chinese Ballet; instrumen- 
talists from Geza Anda to flutist, Rampal . . . and, of course, the world's premier 
orchestras such as The New York Philharmonic and Philadelphia Orchestra. On a 
personal note, Joyce, my deepest remembrances though, go to the musical audi- 
ences and listeners, especially the children . . . and the inner satisfaction I feel for 
the privilege to play a modest role in bringing a fuller, richer life through music 
to so many thousands of lives. 

I am grateful for the opportunity to join the thousands of Toledoans who 
salute our Peristyle in commemoration of the fifty years over which this unique 
facility has brought such great musical beauty and happiness to this community. 
We and those that follow owe great gratitude and tribute to Mr. Edward 
Drummond Libbey, whose generosity, foresight and humanitarianism gave us 
such a magnificent "musical instrument" as the Peristyle. 


PeristyCe Artists 




Chardon, Yves 1948 
Fournier, Pierre 1949 
Greenhouse, Bernard 1964 
Piatigorsky, Gregor 1946 
Rose, Leonard 1963, '70 
Timm, Juernjacob 1981 

Chorat Groups 

Bach Aria Group 1964 
Don Cossack Chorus 1940 
DePaur's Infantry Chorus 1950 
The Norman Luboff Choir 1968 
Monteverdi Choir and Orchestra 

of Hamburg 1975 
New York City Opera Company 1966 
Phildelphia Opera Company 1944 
The Robert Shaw Chorale 1948 
Singing Boys of Norway 1952 
The Trapp Family Singers 1943, '47 
The Vienna Choir Boys 1949, '63 
Roger Wagner Chorale 1958, '76 
The Yale Glee Club 1948 


Asensio, Enrique Garcia 1975 
Barbirolli, Sir John 1939, '40 
Bartholomew, Marshall 1948 
Beecham, Sir Thomas 1950 
Bertini, Gary 1969 
Bjarne, Regnvald 1952 
Blomstedt, Herbert 1979 
Boulez, Pierre 1969, '71, '72 
Burgin, Richard 1943, '45, '46 
Busch, Adolf 1945 
Busch, Fritz 1949 
Cluytens, Andre 1956 
Comissiona, Sergui 1980 
Davies, Dennis Russell 1979 
Defauw, Desire 1944 
DePaur, Leonard 1950 
de Waart, Edo 1977 
Dorati, Antal 1950, 

'51, '53, '54, '56, '60, '68 
Ehrling, Sixten 1965, '68 
Enesco, Georges 1937 
Foster, Lawrence 1972 
Fournet, Jean 1970 
Fournier, Serge 1974 
Gabrilowitsch, Ossip 1933, '34 
Goldschmidt, Walter 1973 
Golschmann, Vladimir 1936, 

'37, '38, '39, '40, '44 
Goosens, Eugene 1933, '39, '40, '43, '44 
Guidi, Scipioni 1938, '39, '40 
Hager, Leopold 1973 

Haitink, Bernard 1967, '76, '82 
Jaroff, Serge 1940 
Jarvi, Neeme 1973 
Jensen, Thomas 1952 
Jochum, Eugen 1961 
Johanos, Donald 1976 
Johnson, Thor 1948, '54 
Jurgens, Jurgen 1975 
Kempe, Rudolph 1972 
Kitaenko, Dmitri 1979 
Kolar, Victor 1933, '34, '37 
Kondrashin, Kiril 1965 
Koussevitzky, Serge 1934, 

'35, '36, '37, '38, '40, '41, '42, '44 
Krips, Josef 1972 
Kubelik, Rafael 1950, '52, '68, '78 
Lane, Louis 1966 
Lange, Hans 1942 
Leinsdorf, Erich 1945, '67 
Lemay, 1934, '35 
Lombard, Alain 1975 
Maazel, Lorin 1981 
Macal, Zdenek 1979 
Maerzendorfer 1956 
Mander, Francesco 1957 
Marriner, Neville 1980 
Martinon, Jean 1967, '70, '75 
Masur, Kurt 1981 
Mehta, Zubin 1975 
Menuhin, Yehudi 1971 
Mitropoulos, Dimitri 1940, 

'41, '42, '43, '44, '45 '46, '47, '48, '49 
Muelbe, William 1940 
Munch, Charles 1948, 

'49, '51, '58, '59, '62 
Muti, Riccardo 1983 
Ormandy, Eugene 1934, 

'35, '36, '37, '38, '39, '40, '41, '46, 

'49, '50, '51, '53, '54, '59, '64, '65 
Paray, Paul 1950, '51, '52, '55 
Previn, Andre 1974 
Reiner, Fritz 1944, 

'45, '46, '47, '48, '53, '54, '58, '59 
Ringwall, Rudolph 1935, '37, '47, '54 
Rodzinski, Artur 1935, 

'36, '37, '41, '42, '47 
Rowicki, Stefan 1974 
Rozhdestvensky, Gennady 1973 
Rudolph, Max 1964, '66, '68 
Sawallisch, Wolfgang 1967 
Schippers, Thomas 1973 
Skrowaczewski, Stanislaw 1962, 

'67, '72 
Sokoloff, Nicolai 1933 
Solti, Sir Georg 1964, '70 
Steinberg, William 1955, 

'57, '59, '61, '62, '63, '66, '69 
Stock, Frederick A. 1934, '41 
Stokowski, Leopold 1933 
Strauss, Edward II 1966 

Szell, George 1947, 

'49, '50, '51, '52, '53, '54, '55, '57, 

'58, '60, '61, '63, '65 
Temirkanov, Yuri 1977 
Van Beinum, Eduard 1954 
Van Remoortel, Edovard 1960 
Van Otterloo, Willem 1963, '65, '69 
von Karajan, Herbert 1955 
Weigel, Eugene J. 1936 

Dance Companies 

Afro-American Dance Ensemble 1972 
Ballet Folklorico of Mexico 1972 
Ballet Russe de Monte Carlo 1934, 

'35, '36, '39, '41 
The Ballet Theatre 1943 
Ballet West 1973 
Batsheva Dance Company of Israel 

Boston Ballet 1975 
Agnes de Mille's Heritage Dance 

Theatre 1974 
Frula Yugoslavian Dance Ensemble 

Harkness Ballet 1974 
Jose Greco and Company 1959 
Joffrey II Dancers 1980 
Jooss European Ballet 1940 
Krasnayarsk Dance Company of Siberia 

Les Grands Ballets Canadiens 1980 
Jose Limon Dance Company 1961 
Los Angeles Ballet 1983 
The Milwaukee Ballet 1978 
Murray Louis Dance Company 1978 
National Ballet of Canada 1969 
National Ballet of Washington 1973 
Ohio Ballet 1982 
Pennsylvania Ballet 1973 
The Royal Ballet of Flanders 1981 
The Royal Winnipeg Ballet 1971, 

'77, '78 
Trudi Schoop and her Comic Ballet 1939 
Mia Slavenska 1944, '45 
The Zacharay Solov Ballet 1961 
Paul Taylor Dance Company 1976 

SttuuT EnsembUzs 

Bach Aria Group 1964 
Britt Trio 1933 
Beaux Arts Trio 1982 
Budapest String Quartet 1934, '56 
The First Piano Quartet 1964 
Guarneri String Quartet 1982 
London String Quartet 1933 
Paris Instrumental Quintet 1934 
Salzedo-LeRoy-Scholz-Salzedo Ensemble 


Jazz and Popular 

The American Jazz Ensemble 1963 
Louis Armstrong and Orchestra 1957 
Pearl Bailey 1967 
Count Basie 1958 

Louis Bellson and his Orchestra 1967 
Dave Brubeck Quartet 1956 
Echoes of the Left Bank 1970 
Duke Ellington and Orchestra 1956 
Arthur Fiedler and The St. Louis 

Symphony Orchestra 1966 
Garner, Erroll 1956, '60, '71 
Gary, John 1969 

Benny Goodman and his Sextet 1967 
Skitch Henderson and his Orchestra 

Edith Lorand and her Hungarian 

Orchestra 1935 
Manhattan Pops Orchestra 1968 
Mantovani and his Orchestra 1967, '69 
Jimmy McPartland's All-Star Six 1957 
Nero, Peter 1970 
The Preservation Hall Jazz Band 

1968, '70 

The Serendipity Singers 1966 

Shirley, Don 1956 

Billy Taylor Trio 1957 

Fred Waring and the Pennsylvanians 

1967, '69, '70 

Hugo Winterhalter and Orchestra 1971 
The World's Greatest Jazz Band 1971 

Additional Performers 

Caledonia: Singers & Dancers of 

Scotland 1960 
Musical America, Mary Hunter's 1954 
National Chinese Opera Theatre 

1974, '80 
Ohio State University Concert Band 

Osipov Balalaika Orchestra 

1969, '72, '77 

Philadelphia Opera Company 1944 
Royal Festival Company of Norway 

Russell, Anna 1955 
The Salzburg Marionettes 1952 
The Siberian Dancers & Singers of OMSK 

Slask— Polish Song & Dance Company 



Academy of St. Martin in the Fields 

Baltimore Symphony Orchestra 1980 
The Bavarian Symphony Orchestra 

1968, '78 

Boston Symphony Orchestra 1934, 
'35, '36, '37, '38, '40, '41, '42, '43, 
'44, '45, '46, '49, '51, '58, '59, '67 

Busch Little Symphony 1945 
Chicago Symphony Orchestra 1934, 

'41, '42, '44, '47, '49, '50, '52, '53, 

'54, '58, '59, '67, '70 
Cincinnati Orchestra 1933, 

'39, '40, '43, '44, '48, '54, '64, '66, 

'68, '73 
Cleveland Symphony Orchestra 1933, 

'35, '36, '37, '41, '42, '44, '45, '47, 

'48, '49, '50, '51, '52, '53, '54, '55, 

'57, '58, '60, '61, '63, '65, '66, '69, '71 
Concertgebouw Orchestra of 

Amsterdam 1954, '61, '67, '82 
Danish National Orchestra 1952 
The Detroit Symphony Orchestra 

1933, '34, '37, '52, '55, '65, '68 
Dresden State Orchestra 1979 
Florence Festival Orchestra 1957 
The Gewandhaus Orchestra of Leipzig 

Hague Philharmonic 1969, '75 
The Resident Orchestra of the Hague 

1963, '65 

The Israel Chamber Orchestra 1969 
Leningrad Philharmonic 1973 
Leningrad Symphony Orchestra 1977 
The London Symphony Orchestra 

1964, '74 

London Philharmonic Orchestra 1976 
Los Angeles Philharmonic 1975 
Menuhin Festival Orchestra of London 

Minneapolis Symphony Orchestra 

1934, '35, '36, '40, '41, '42, '43, '44, 
'45, '46, '47, '48, '49, '50, '51, '53, 
'54, '56, '60, '62, '67 

Minnesota Orchestra 1972, '80 
Moscow Philharmonic Orchestra 

1965, '79 

Mozarteum Orchestra of Salzburg 

1956, '73 
NDR Symphony Orchestra 1979 
National Orchestra of France 

1948, '62, '70, '81 
New York Philharmonic 1939, '40, '72 
Philadelphia Orchestra 1933, 

'37, '38, '39, '40, '41, '46, '49, '50 

'51, '53, '54, '59, '64, '65, '83 
Pittsburgh Symphony Orchestra 1944, 

'45, '46, '47, '48, '49, '50, '51, '52, 

'55, '57, '59, '61, '62, '63, '66, '69 
Pittsburgh Symphony Chamber 

Orchestra 1976 
Prague Chamber Orchestra 1983 
The Rotterdam Philharmonic Orchestra 

1970, '77 
Royal Philharmonic Orchestra of London 

1950, '55, '72 
Saint Louis Symphony Orchestra 

1936, '37, '38, '40, '60, '66 
The Saint Paul Chamber Orchestra 


Spanish RTV Symphony Orchestra of 

Madrid 1975 
The Stockholm Philharmonic Orchestra 

Strasbourg Philharmonic 1975 
Swiss Chamber Orchestra 1982 
The Toledo Symphony Orchestra 1974 
The Vienna Johann Strauss Orchestra 

1966, '73 

The Vienna Philharmonic Orchestra 

The Vienna Symphony Orchestra 

1967, '72 

Warsaw Philharmonic Orchestra 1974 


Arnold, Corliss R. 1961 
Baker, Walter 1948 
Biggs, E. Power 1942, '46, '53, '62 
Coci, Claire 1944, '49, '56 
Courboin, Charles M. 1943 
Crozier, Catharine 1943, '48 
Demessieux, Jeanne 1955 
Dupre, Marcel 1933, '46 
Eifrig, William 1961 
Fox, Virgil 1947 
Germani, Fernando 1951 
Giles, Hugh 1945 
Gravesmill, William J. 1961 
Hecklinger, Lyle 1974 
Heitmann, Fritz 1950 
Langlais, Jean 1962 
Lagace', Claude P. 1961 
Marchal, Andre 1947, '49, '53 
Mason, Marilyn 1950 
Mitterhofer, Alfred 1977 
Ness, Earl 1961 
Noehren, Robert 1951 
Osborne, William 1961 
Peaker, Charles 1945 
Peeters, Flor 1946, '47 
Schreiner, Alexander 1949, '60 
Weinrich, Carl 1958 


Anda, Geza 1958 
Arrau, Claudio 1945 
Ashkenazy, Vladimir 1979 
Babin, Victor 1938, '39, '47, '52 
Bachauer, Gina 1957 
Baldwin, Dalton 1962 
Balogh, Erno 1935, '37 
Balsam, Artur 1952, '53 
Bartlett, Ethel 1937, '48 
Bay, Emanuel 1951 
Behr, Jan 1951 
Benedict, David 1971 
Benoit, Regis 1967 
Bergmann, Ludwig 1948 
Berkowitz, Ralph 1946, '57 
Berl, Paul 1948, '49, '56, '64 



Bernstein, Leonard 1949 

Bishop, Stephen 1967 

Bos, Coenraad V. 1944, '48 

Brailowsky, Alexander 1956 

Browning, John 1966 

Casadesus, Gaby 1950, '59 

Casadesus, Robert 1940, '50, '53, '59 

Charnley, Milne 1938 

Ciani, Dino 1973 

Cliburn, Van 1970 

Curzon, Clifford 1956 

Danenberg, Emil 1966 

Davis, Ivan 1963, '66 

Dupre, Marguerite 1946 

Firkusny, Rudolf 1965 

Fleisher, Leon 1955, '63 

Foldes, Andor 1941 

Frager, Malcolm 1962 

Frank, Bernard 1936 

Fuschi, Olegna 1966 

Gabrilowitsch, Ossip 1934 

Golub, David 1980, '82 

Hansen, Peter 1946 

Herz, Otto 1939, '55 

Hess, Myra 1936, '50 

Hively, Wells 1956 

Hofmann, Josef 1937 

Hollander, Lorin 1965, '76 

Horowitz, Vladimir 1942, '48, '50 

Hunter, Robert 1976 

Hutcheson, Ernest 1933 

Istomin, Eugene 1945 

Killburn, Weldon 1962, '68 

Kountz, Emma Endres 1937, '42 

LaForge, Frank 1935 

Levine, Joseph 1949 

Leygraf, Hans 1968 

Loesser, Arthur 1935 

Lowe, Jack 1962 

Luboshutz, Pierre 1955 

McArthur, Edwin 1936 

Malcuzynski, Witold 1956 

Maxim, Jack 1963 

Muller. Leo 1945 

Nemenoff, Genia 1955 

Nold, Donald 1969 

Novaes, Guiomar 1942, '51, '60 

O'Neill, Charles 1947 

Pavolvsky, Vladimir 1947 

Pennario, Leonard 1969 

Petri, Egon 1946 

Pommers, Leon 1954, '58, '64, '66, '67 

Pommier, Jean-Bernard 1975 

Postnikova, Viktoria 1973 

Pressler, Menahem 1948 

Rankin, Eugene 1955 
Raymond, John 1946 
Reeves, George 1948 
Robertson, Rae 1948 
Rubinstein, Artur 1943, '46, '51, '68 
Rubinstein, Beryl 1935 
Ruvinska, Paulina 1938 
Sanders, Samuel 1970, '81 
Sanroma, Jesus Maria 1938 
Schauwecker, Frederick 1951 
Schlussel, Sanford 1938 
Schnabel, Artur 1939 
Scholer, Victor 1949 
Shomate, James 1946 
Serkin, Peter 1969 
Serkin, Rudolf 1944, '49, '52, '61 
Slobodyanik, Alexander 1969 
Smith, Brooks 1941, '57 
Solomon 1953 
Somer, Hilde 1947 
Stimer, David 1949 
Stravinsky, Igor 1934 
Taubman, Leo 1950, '51 
Templeton, Alec 1939 
Ulanowsky, Paul 1953, '64 
Uninsky, Alexander 1947 
Van Doren, Mary 1940 
Veyron-Lacroix, Robert 1977 
Vronsky, Vitya 1938, '39, '47, '52 
Webster, Beveridge 1959 
Whittemore, Arthur 1962 
Zakin, Alexander 1956 

Solo Instrumentalists 

Andre, Maurice — trumpet 1977 
Baker, Julius— flute 1964 
Bloom, Robert— oboe 1964 
Druvinsky, Edward— harp 1952 
Fenbogue, Alfred E.— flute 1943 
Goldberg, Bernard— flute 1950, '52 
Layefsky, Godfrey— viola 1962 
Primrose, William — viola 1947 
Rampal, Jean-Pierre— flute 1977 
Yepes, Narciso— guitar 1975 
Tipton, Albert— flute 1956 


Druian, Rafael 1950 
Dushkin, Samuel 1934 
Enesco, Georges 1938 
Francescatti, Zino 1939, '54 
Gerle, Robert 1967 
Goldberg, Szymon 1950 
Heifetz, Jascha 1951 
Menuhin, Yehudi 1952, '71 

Milstein, Nathan 1947, '53, '67 
Morini, Erica 1958, '64 
Peinemann, Edith 1966 
Perlman, Itzhak 1981 
Ricci, Ruggiero 1936 
Shumsky, Oscar 1964 
Stern, Isaac 1956, '80, '83 
Szigeti, Joseph 1941, '49 


Allen, Betty 1969 

Baccaloni, Salvatore 1942 

Bampton, Rose 1941 

Berger, Erna 1951 

Bjorling, Anna-Lisa 1951 

Bjoerling, Jussi 1951 

Chamorro, Angeles 1975 

De Los Angeles, Victoria 1956, '64 

Farrell, Eileen 1964 

Farrow, Norman 1964 

Flagstad, Kirsten 1936 

Fredericks, Walter 1955 

Glaz, Hertha 1945 

Harrell, Mack 1948 

Hines, Jerome 1966 

Koller, Dagmar 1966 

Kraeutler, Walter 1966 

Kraft, Marie Simmelink 1950, '53 

Lail, Lorri 1948 

Lawrence, Marjorie 1947 

Lehman, Lotte 1937 

Marshall, Lois 1962, '68 

Maynor, Dorothy 1948 

Melton, James 1946 

Merriman, Nan 1953 

Nikolaidi, Elena 1951 

Ortiz, Francisco 1975 

Peerce, Jan 1964, '71 

Pons, Lily 1956 

Rethberg, Elizabeth 1934 

Sarata-Pitsch, Birgit 1973 

Sayao, Bidu 1938 

Seefried, Irmgard 1953 

Susz, Wolfgang 1973 

Singher, Martial 1945 

Smith, Carol 1964 

Souzay, Gerard 1962 

Streich, Rita 1973 

Svanholm, Set 1948, '50 

Teyte, Maggie 1946 

Tourel, Jennie 1946, '49, '55, '57 

Traubel, Helen 1944, '48 

Treash, Leonard 1948 

Varnay, Astrid 1948 

Vishnevskaya, Galina 1965 

Warfield, William 1955 









i I